Sarah is a socio-cultural activist*, working in rebuilding circle-culture based on ancient care-practices, which includes reflections into environment, psyche and the psychic, through artistic research-led practice.

artist, activator*
[ ”activator”, in place of the word: “healer”, as at the core, all healing is self-healing, allowing oneself to bloom from within ] 

                                           Sarah works technically with subtle body energies, psychic-ecologies and their complex interconnected relationship within environment.

Her focus into rejuvenation holds relationship with holistic rhythms of the un-manifested, exploring identity, embodiment, psyche, spirit, emotion and co-emergent multitudes within the individual and collective.

Through core-shamanic praxis, grounded within dreamwork, inner embodied alchemy [somatics] and orphic incantation [sound healing and authentic voicework, polyrhythm] coupled with research into non-linear consciousness theory, and narrative [poetics, archetype, myth and the absurd] - Sarah’s work opens communication with inner worlds, working to mediate modern machine and transpersonal spirit.

Across abstract image, ritual, sound and experience, she addresses the inner-experience as product, holding concurrent metaphysical spaces and paradox in acknowledgement of the non-dual. She works to become a clean mouth piece for the prophecies and oracles of the unseen.

High importance is understood within darkness as a vital process to incubation and initiation, intuition-technology, authenticity, chance, synchronicity; influenced by aktionist art theory, neo-concretism, radical transformability, psycho-ecology, and the abject.

Her analytic approach to energy practition, with respect to indigenous sources of wisdom under the term core-shamanic, is focused on the collection and recognition of lost intuitional ways of being as building blocks for present knowledge, and future systems.

She enquires and attunes into water-wisdom and holding practices of collective soul through 3D-5D and the digital realms.



Sarah offers One on One sessions in the capacity of a Shamanic Practitioner, with ritual energy work and witness counsel for power transferral and rebalance.

The one on one session work focused in grounded connection with sensorial body and embodied presence, to provide support for beings in embodiment of the soul, aiding to offer empowerment through periods of major transition, loss of creativity, or disempowerment.

Sound, movement, and water are companions in this work.

More info on sessions is listed on the praxis page or flow over to her blog to discover more.



Online or in-person research ceremonies [as workshop] are made for studio groups or research teams interested in ritual, the relation of the body, processual art. Sarah has interest in supporting artists in developing new future-focused authentic ceremonial research practices.



Her research into core shamanic perspectives of digitalisation as an integration portal, presented through sound and writing, with the Foundation of Shamanic Studies Europe (2020-2022) and as performance happening with CTM Festival Hacklab Berlin (2018), views the simultaneous evolution of perspectives of the sensorial body and birth of digitalisation as a leverage for expanded multi-perspectivism in witnessing and healing trauma, evolving into intra-sectionality: psychic fragments as unique blueprint for an expansive grid.

Through years 2015 - 2019 Sarah worked in faciliation and communications for digitial art and computer music studio; Studio Robert Henke and in 2019 - 2020 moved into Research and Communications with Studio Tomás Saraceno. Through these experiences she has formed a deep understanding of socio-cultural care practice which spans multi-media arts, installation, sound, club-culture, co-creational artistic praxis and attunement to ecology.

In 2016, Sarah founded and curated an independent art and music space: Aether (Berlin), focusing on post-internet, conceptual art and ambient sound and noise, running for one year.

In 2016-18 she was a graphic designer and administrator for online network of nonbindary and female* artists in music and digital arts, female:pressure, specifically for FACTS 2017.

The threads of her degree in Fashion Design (1.Hons, 2008) from R.M.I.T. Melbourne drew her towards an exploratory and collaborative program in transformative sustainability, in connection with S.I.A.L [spatial information architecture laboratory]; where the work and mentorship of Prof. Pia Ednie Brown, Research Supervisor Prof. Robyn Healy, artists Adele Varcoe, Boo Chapple and designers Material By Product [Susan Dimasci, Chantal Kirby] deeply inspired her reflection upon radical theories of toxicity and the networked connection of the human body with layers of environment, which developing seeds into working with Objective Psyche.

In 2015 she turned inwards into the meta-physical and began studies with the Foundation of Shamanic Studies Europe, honouring alternative formats of inner research and intimate ceremony, learning Tarot, Astrology, Akashic records, and many other Oracular intuitional systems, particularily learning through Roland Urban and David Vust. She is also in great appreciation of teachers and space holders Amanda Flaker, Jakob Lusensky, Roberta Perzolla, Leonor Beuter.



Sarah's work with performance, video, sound and image has been supported through developmental residencies Sternhagen Gut, supported by Music Board Berlin (2021), Body in Algorithms (2021), curated by Ashley Middleton and Georgia Perkins, exhibited internationally in institutions such as Screenspace (Melbourne, Australia) curated by Laura Castagnini, festivals such as At.tention festival (Lärz, Germany), Atrium Space (Melbourne, Australia) and fortyfivedownstairs (Melbourne) together with live art collaboration Spill Collective.

She has performed live electronic sound in club setting, namely OHM (Berlin), and has brought multimedia performance art and video into spaces such as about:blank (Berlin) curated by Sylvia Sadzinski, embracing accessibility of live art within Berlin’s underground club music scene.

Sarah holds a strange relational vessel, Consumer Refund, held online and through sound performance. Individuals may integrate their subconscious matter (dreams) into her C-Refund archive via private experience, where the internet allows the fostering of a intimately personal, yet anonymous connection.



Sarah has special interest into the energy of Inanna, Quan Yin, and the ancient female WU shamanic tribes, who were the first Daoists, practicing energetic transmutation through dance. [Among many other practices].

She is only at the tip of the iceberg in discovering the richness of these practices and how different aspects of Buddhism and Mythology interact and flow through her pracitice.

In Sri Lanka, where half of Sarah’s family is from, the ancient shamanic ethos of the Veddas, was connected somewhat to Buddhist practice [origina and ancient forms of Sinhalese Buddhism - very different from modern day interpretations]. These practices remain a part of the discovery of her lost lineages.

In Australia, Sarah grew up on the unceeded lands of the Wurundjeri tribes in Melbourne/Naarm. She had great joy learning stories of the Dreamtimes as a child and feels an ovrflowing amount of respect for Sacred Aboriginal Indigenous Wisdom. 

She continues to study into personal cosmology, warmly defending independent, receptive, curiously interrogative, respectful and subversive creation.


Cover images:
- credits to CTM Festival,  Siri Nyström, Mathilda Bernmark, Sarah Martinus


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