Arts and creativity for fulfillment

Sarah Peguero : Emotional Rooms

In this interview, Sarah Peguero describes her studio as a secret universe, the night as a companion for creation, and color as her intimate language. Her paintings unfold as emotional rooms, sensorial refuges where matter breathes and the unseen becomes tangible.

Marlena Des

9/2/20254 min read

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Interview with Sarah Peguero

In the secrecy of her studio, Sarah Peguero builds places that follow no visible rules.
It is a parallel world where intuition guides the hand, where night opens its silent doors, where gold, pastel, and charcoal become breath, trace, and light.
Born in the Dominican Republic, based in Denmark, she moves through cultures as through inner landscapes: each leaving in her an imprint, a rhythm, a color, which settles onto her canvases as fragments of universal memory.
Her paintings do not describe: they invent refuges. They are emotional rooms one enters without knocking, sensorial architectures where color breathes, intimate spaces that welcome the gaze and invite it to be touched by the unseen.

Your studio is described as a secret, secondary universe. What role does this space play in your life — what does it offer you that the outside world does not?

When I step into my studio, it’s like entering a parallel universe — a space where anything can happen. Out there, the world has rules. In here, there are none. I’m free to dream, play, and follow my intuition completely. That’s where the magic lives.

You often paint at night, when everything quiets down. Is this a time of inner architecture — a space for shaping what daylight silences?

Absolutely — that’s spot on. I paint best when it’s dark outside. There’s something about the stillness of night that opens up a different kind of space in me. No noise, no expectations — just me, the colors, and whatever wants to come through. Suddenly, there’s room to feel, to listen, to create.

Your palette evokes meditative, almost sacred places. What inspires you to create “emotional rooms” — spaces that are felt rather than seen?

I think I’m always trying to paint a feeling more than a scene. Color is my language — it builds emotional rooms where people can rest, remember, or just be. I don’t plan them. They sort of appear when I follow what feels true in the moment. I often say: I don´t paint, I play!

The bodies you paint are neither exposed nor central — they seem to move through symbolic zones. How do you relate to the human figure as a structure?

For me, the human figure isn’t the subject — it’s more like a presence, or a trace. I’m not interested in the body as anatomy, but as emotion, memory, energy. It moves through my work like a ghost — not to be looked at, but to be felt.

Your chosen materials — pastel, charcoal, gold — invite tactile reading. Is invisible touch part of your approach to spatiality?

Yes, absolutely. The materials I choose are my way to invite touch without touch. Pastel’s softness, charcoal’s roughness, and gold’s glow — they create a feeling, a space you can almost step into. For me, the invisible touch — the texture, the layers — is how the painting breathes and lives.

You’ve lived across different countries and cultures. Has this multiplicity offered you several ways of inhabiting the world — and therefore, of painting it?

Definitely. Living in different places has opened up many ways of seeing and feeling the world. Each culture brings its own colors, stories, and rhythms, and they all blend into my painting. It’s like carrying a little universe of experiences into every brushstroke.

If you could suggest an artist or creative soul for Musarthis, whose voice or vision would you love to see featured?

I would love to see Yahel Yan. Her Instagram: yahel.yan.art

To look at a canvas by Sarah Peguero is to venture into a place that escapes the contours of the visible.
Bodies move there like discreet presences, not to be observed but to be felt; materials respond to one another like inner voices — the softness of pastel, the roughness of charcoal, the sovereign glow of gold.
Each work is a pause, a fragile dwelling where memory finds rest, where emotions regain breath, where night continues to vibrate beneath the surface of colors.
Her paintings do not merely stand before us: they open a passage into intimacy, reminding us that painting can still be a place of gathering, a poetic shelter where one comes to lay oneself down.