Anat Ebgi is pleased to announce I Know Her, a solo exhibition by Sarah Ann Weber on view at 6150 Wilshire Blvd from November 15, 2025 – January 10, 2026. This is Weber’s third solo exhibition with the gallery and presents new works all made during 2025. An opening reception will take place on Saturday, November 15 from 6-8 pm.

In I Know Her, Sarah Ann Weber evokes a vibrant realm of unruly flux: day and night, abundance and restraint, interior and exterior. The exhibition traces recent seismic shifts in Weber’s own life, significantly the birth of her daughter and a cross-country move back to her hometown of Chicago after a decade spent in Los Angeles. She entwines autobiography and gestural botanicals in sensory terrains, while adding to the canon of images of mother and child.

Weber began the works in southern California, drawing inspiration from the landscape’s tangle of entropy and perpetual renewal. Following her relocation, she reacquainted herself with the Midwest’s strong seasonal cycles of winter dormancy followed by spring growth, discovering new compositional rhythms of space, density, and light. Landscape functions within these works as setting and psychology. The shift from California’s perpetual fecundity to the prairie’s measured temporality and stark flatness gives rise to new spatial logic. Each painting then is a record of adaptation, indexes of weather, labor, vegetation, and time.

Figures, too, appear and dissolve within fields of abundant growths of flora, thickets of vines, blossoms, and grasses. Their spectral appearances are declarative and searching; we witness a struggle for individuation and for coherence of identity. These fleeting moments of early motherhood—holding, consoling, or running after—evoke the emotional toll of caregiving as the artist’s individuality is fractured by the constant needs and presence of the new child. This tension is mirrored in Weber’s materials; watercolor bleeds and pools in vaporous veils and colored pencil reinscribes boundaries, tethering atmosphere to form. The works pulse between containment and overgrowth, visibility and concealment. This unification of spontaneity and deliberation echoes Weber’s navigation between new motherhood and her studio practice.

Architectural forms—windows and doors—punctuate the compositions as mediating structures, as thresholds between memory and the present, wild nature and the domestic. Recalling the long history of the window in painting as a framing device for light and perspective, Weber’s frame is porous, sometimes holding the composition in place, while other times threatening to dissolve it. Her use of the motif becomes a metaphor for perception and passage; it speaks to her experience of looking and longing: gazing through glass doors and large picture windows onto dormant winter prairies upon arriving in Chicago and subsequently watching them burst alive in spring.

Extending these themes into the gallery Weber created an installation from piles of dried flowers scattered about the floor. Fragrant debris of red rose petals, creamy jasmine blooms, and yellow calendula evoke the changing seasons and echo the rhythms of domestic gestures of tending, raking, and renewal. As visitors move through the space, their footsteps may stir the lightweight material causing further scattering. These drifts of once-living flowers mirror their drawn and painted counterparts, further blurring the distinctions between image and residue.

Across I Know Her, Weber locates apertures where the maternal, environmental, and imaginative converge, accumulating dualities that form an ecology of unruliness and resilience. The exhibition’s title gestures to multiple recognitions—the child, the mother, the landscape, the artist herself—each glimpsed, inhabiting a space of flux and perpetual renewal.