Her family had little interest in creativity or creative art forms, but her awe and love of music was realised to herself when she was seven years old. A friend of the family had given them a piano and it was placed in her bedroom because there was nowhere else in the house to put it. She had fun making sounds on the piano and learned a small tune from an older friend. The piano was there for only
six months but what remains in her memory were the huge sounds of thunderous notes that resonated within her small bedroom, particularly when she lifted the piano top and pressed down on the sustain pedal. After the piano was gone, she would imagine tunes by clicking her teeth together in a rhythm while her teeth were the keys on a piano. Sara was part of a contemporary and eclectic arts scene in Canberra. She found herself involved in a vibrant and unconventional collective of artists and musicians involved in fringe and professional theatre and performance art. She got a guitar, she already knew a few chords from school days, and taught herself to play rhythm guitar. She began writing and performing her own songs as a solo artist and in a popular local band. Eventually, she set up a simple studio in her bedroom and started recording and producing songs and dance music. By 2020, the HOPE STREET HOUSE studio occupied the entire lounge room and she began receiving Australian radio airplay and international radio and playlisting of the songs Ulterior Kinetic (2020), Lilly Pilly Python (2021), Strange Angel (2021) and Viridian Sanctuary (2022).
