Sara Hubbs (b. Phoenix, AZ) completed a BFA in Painting at Arizona State University and an MFA in Visual Art at The George Washington University. Her work has been included in group shows at The Delaware Contemporary (2007), Ex-Teresa Arte Cultural in Mexico City (2008), Collarworks in Troy, NY (2022), The Tucson Museum of Art (2020) and Carnation Contemporary in Portland, OR (2020). In 2023, she presented a solo booth at NADA New York with Everybody from Tucson, AZ. Her work was included in New Glass Review 42 from the Corning Museum of Glass (2022) and her collaborative project, DelaLuz was shown at Espacio CDMX for Design Week Mexico in Mexico City (2023). Sara recently had a two-person show with Sarah Zapata at MOCA Tucson and a solo show at Mesa Contemporary Art Museum (2025). She was included in group shows at the Arizona State University Art Museum and in “Designing Motherhood” at The Houston Center for Contemporary Craft (2024). She was a founding member of the Stew-dio Visit Artist Collective, who created socially focused art and food events. Sara lives with her partner and child in Tucson, AZ where she runs Millville Studios.

Statement

Sara Hubbs works across various mediums and processes with a special focus on glass. Her interest lies in changes in bodies, kinship roles and place. She uses material processes and shape as entry points into exploring absence, the body/embodiment, and loss. Always asking what can shape hold, she looks for shapes that are overlooked or that are ascribed an abundance of meaning. From the hyper-femme and expressive, to the decorative and utilitarian, Sara sources shapes and concepts that spill out of or transgress their containers. Bows, metal hearts from fences, shapes of toy packaging, and medical items are culled from the home, from built environment and from her role as a kin-keeper (specifically as a mother and daughter). She uses multi-step casting, glass-blowing, and firing methods to alter the legibility and potency of the shapes. They transform across various processes, repetition and situational placements, echoing the constant re-arranging of self in relationship to others. Through materials and their processes she challenges what shape can hold and where meaning is located.