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-an Australian artist based in Los Angeles

-works with small scale models, film and photography

-conjures an atmosphere where reality is questioned

-sense of isolation and false reality where the viewer is reminded the subject is fake

-utilises imagination and reflection

-ethereal feel and use of light

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Amore Motel 2020, 93 x 138cm, Giclée print

Green Lantern Chateau 2020, 93 x 138cm, Giclée print framed

Palazzo Place 2020, 93 x 138cm, Giclée print

Le Grande Apartment 2020, 93 x 138cm, Giclée Print

Dream Cloud 2020, 93 x 138cm, Giclée print

Madame Mystey 2020, 93 x 138cm, Giclée print framed

Film still from video work Pulse 2020, 2:22 minutes (continuous loop)

Film still from video work Pulse 2020, 2:22 minutes (continuous loop)

Film still from video work Pulse 2020, 2:22 minutes (continuous loop)

prev / next 7 of 9 thumbnails

Amore Motel 2020, 93 x 138cm, Giclée print

Green Lantern Chateau 2020, 93 x 138cm, Giclée print framed

Palazzo Place 2020, 93 x 138cm, Giclée print

Le Grande Apartment 2020, 93 x 138cm, Giclée Print

Dream Cloud 2020, 93 x 138cm, Giclée print

Madame Mystey 2020, 93 x 138cm, Giclée print framed

Film still from video work Pulse 2020, 2:22 minutes (continuous loop)

Film still from video work Pulse 2020, 2:22 minutes (continuous loop)

Film still from video work Pulse 2020, 2:22 minutes (continuous loop)

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Anna Carey served as an inspiration source for my final part A photographs as I aimed to create a similar atmosphere of isolation in my work, especially through the use of light

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-born in Baltimore in 1976, now lives and works in New York

-primarily sculptural and photographic works

-focus on structure and shape

-monotone photography creates a harmonious series

-mostly geometric, explores the form of the shape

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Sara VanDerBeek
You Are Looking at Something that Never Occurred, 2017
Zabludowicz Collection, London
Installation view

Sara VanDerBeek
Pieced Quilts, Wrapped Forms, 2016
Metro Pictures, New York
Installation view

Sara VanDerBeek
FOG Design+Art, 2017
Altman Siegel booth
Installation view

Sara VanDerBeek
Parallel (Cycladic), 2018
2 digital c-prints and collage element
20 x 15 3/4 inches (each image)
50.8 x 40 cm
20 3/8 x 16 1/4 inches (each frame)
51.8 x 41.3 cm

Sara VanDerBeek
Cyclades II, 2018
5 digital c-prints
49 x 49 inches (framed)
121.9 x 121.9 cm

Sara VanDerBeek
Quilt Study, Eternal Triangle, 2016
2 c-prints
62.2 x 41.9 cm
24 1/2 x 16 1/2 in (frame)

Sara VanDerBeek
Quilt Study III, 2016
2 digital c-prints
50.8 x 38.1 cm
20 x 15 in

Sara VanDerBeek
Crepuscule, 2015
Set of nine framed works, each containing two digital c-prints
"Photo-Poetics: An Anthology,"
Installation view, 2015-2016
Guggenheim Museum, New York

Sara VanDerBeek
"Sensory Spaces 6,"
Installation View, 2015
Boijmans van Beuningen, Rotterdam

Sara VanDerBeek
Baltimore Museum of Art
Installation view, 2015

Sara VanDerBeek
Baltimore Museum of Art
Installation view, 2015

Sara VanDerBeek
Ancient Objects, Still Lives
Installation view, 2014
Altman Siegel, San Francisco

Sara VanDerBeek
Shift, 2014
Digital c-print
61 x 40.6 cm
24 x 16 in

Sara VanDerBeek
Chorerra, 2014
Digital c-print
61 x 46.4 cm
24 x 18 1/4 in

Sara VanDerBeek
Ancient Objects, Still Lives
Installation view, 2014
Altman Siegel, San Francisco

Sara VanDerBeek
Turned Stairs/Pyramid Steps, 2014
Detail view

Sara VanDerBeek
Ancient Solstice, 2014
Digital c-print
61 x 45.1 cm
24 x 17 3/4 in

Sara VanDerBeek
Lunar Calendar, 2014
Wood, glass, plaster, digital c-print
Dimensions variable

Sara VanDerBeek
Mimbre, 2014
Digital c-print
61 x 45.7 cm
24 x 18 in

Sara VanDerBeek
Museum of Contemporary Art, Cleveland, 2014
Installation view

Sara VanDerBeek
Setting Sky, 2014
Colored concrete
274.32 x 30.48 x 30.48 cm
108 x 12 x 12 in

Sara VanDerBeek
Museum of Contemporary Art, Cleveland, 2014
Installation view

Sara VanDerBeek
Museum of Contemporary Art, Cleveland, 2014
Installation view

Sara VanDerBeek
XXXII, 2014
Concrete, marble dust, gesso
274.32 x 30.48 x 30.48 cm
108 x 12 x 12 in

Sara VanDerBeek
Museum of Contemporary Art, Cleveland, 2014
Installation view

Sara VanDerBeek
Museum of Contemporary Art, Cleveland, 2014
Installation view

Sara VanDerBeek
Metro Pictures, New York, 2013
Installation view

Sara VanDerBeek
Metro Pictures, New York, 2013
Installation view

Sara VanDerBeek
Metro Pictures, New York, 2013
Installation view

Sara VanDerBeek
Metro Pictures, New York, 2013
Installation view

Sara VanDerBeek
Metro Pictures, New York, 2013
Installation view

Sara VanDerBeek
Metro Pictures, New York, 2013
Installation view

Sara VanDerBeek
Metro Pictures, New York, 2013
Installation view

Sara VanDerBeek
Metro Pictures, New York, 2013
Installation view

Sara VanDerBeek
Roman Women III, 2013
Digital c-print
152.4 x 116.84 cm
60 x 46 in

Sara VanDerBeek
Roman Women XIII, 2013
Digital c-print
167.64 x 121.29 cm
66 x 47 3/4 in

Sara VanDerBeek
XXXV (Roman Stripe), 2013
Stained walnut
284.48 x 26.67 x 26.99 cm
112 x 10 1/2 x 10 5/8 in

Sara VanDerBeek
XXV, 2013
Plaster and paint
243.84 x 20.32 x 20.32 cm
96 x 8 x 8 in

Sara VanDerBeek
Hammer Museum, Los Angeles, 2011
Installation view

Sara VanDerBeek
Hammer Museum, Los Angeles, 2011
Installation view

Sara VanDerBeek
Hammer Museum, Los Angeles, 2011
Installation view

Sara VanDerBeek
Hammer Museum, Los Angeles, 2011
Installation view

Sara VanDerBeek
Hammer Museum, Los Angeles, 2011
Installation view

Sara VanDerBeek
Hammer Museum, Los Angeles, 2011
Installation view

Sara VanDerBeek
Hammer Museum, Los Angeles, 2011
Installation view

Sara VanDerBeek
Western Costume, Black Satin (Night), 2011
C-Print
50.8 x 35.56 cm
20 x 14 in

Sara VanDerBeek
Western Costume, Black Satin (Day), 2011
C-Print
50.8 x 36.2 cm
20 x 14 1/4 in

Sara VanDerBeek
To Think of Time, 2010
Whitney Museum of American Art, New York
Installation view

Sara VanDerBeek
Treme School Window, 2010
C-Print
50.8 x 38.74 cm
20 x 15 1/4 in

Sara VanDerBeek
To Think of Time, 2010
Whitney Museum of American Art, New York
Installation view

Sara VanDerBeek
Temple, 2010
C-Print
50.8 x 40.01 cm
20 x 15 3/4 in

Sara VanDerBeek
Foundation, Deslonde Street, 2010
C-Print
50.8 x 40.01 cm
20 x 15 3/4 in

Sara VanDerBeek
To Think of Time, 2010
Whitney Museum of American Art, New York
Installation view

Sara VanDerBeek
Caryatid, 2010
C-print
187.96 x 121.92 cm
74 x 48 in

Sara VanDerBeek
Venus (Negative), 2010
C-print
152.4 x 96.52 cm
60 x 38 in

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Photograph Magazine, 2019

Aperture, 2016

Blouin Artinfo, 2016

Artfcity, 2015

Artpress, 2015

Artforum, 2014

Art Practical, 2014

Aperture, 2013

Flash Art, 2012

Artnews, 2011

The New York Times, 2010

Frieze, 2010

ArtReview, 2008

Artforum, 2007

News

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Sara VanDerBeek’s use of lighting, especially in You Are Looking at Something that Never Occurred, was a primary source of inspiration in my final part A works. While selecting my final two photographs I considered her use of minimalism in these works, alongside the impact of having images in a uniform composition. The contrast featured in Four Photographers is what initially inspired me to set my photos at night, to emphasis the lit parts of the images.

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Born 1964 in Helinski, Finland, Kohelmainen is a contemporary photographer that investigates architecture especially through the use of light. His minimalist abstraction creates photographic works that feel disjointed, while remaining identifiable as architectural forms.

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Ola Kolehmainen - 6 Artworks to Discover and Buy | Widewalls

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On our marketplace, Ola Kolehmainen's artworks available for sale can become yours in just a few clicks.

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I drew inspiration from these works in part B due to my interest in the exploration of the interaction between light and form. My work involves a look at circular shapes alongside bringing the texture of the metal to the forefront. By looking at the way Kohelmainen uses light and texture in his photographs, I decided to aim for a minimalist effect for my final work.

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Born 1957 in Honshu, Japan, Sato originally trained as a sculptor which is evident in his consideration of space within his works. He uses long exposure photography to create atmospheric images which often feature natural landscapes.

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Tokihiro Sato, #381 Domi-muma, 1999
Gelatin Silver Print | Image: 17 x 21.25 inches; Paper: 20 x 24 inches | HG8374

Tokihiro Sato, #69, 1990
Gelatin Silver Print | Image: 20 x 24 inches; Frame: 27 x 30.5 inches | HG8376

Tokihiro Sato, #60, 1990
Gelatin Silver Print | Image: 17 x 21.25 inches; Paper: 20 x 24 inches | HG8377

Tokihiro Sato, #356 Palm, 1997
Black-and-white transparency and lightbox | Image: 20 x 24 inches; Lightbox: 22 x 26 inches | HG9151

Tokihiro Sato, #170 Manji, 1992
Black-and-white transparency and lightbox | Image: 20 x 24 inches; Lightbox: 22 x 26 inches | HG7968

Tokihiro Sato, #294 Hattachi, 1996
Black-and-white transparency and lightbox | Image: 20 x 24 inches; Lightbox: 22 x 26 inches | HG9152

Tokihiro Sato, Yura #339, 2001
Black-and-white transparency and lightbox | Image: 20 x 24 inches; Lightbox: 22 x 26 inches | HG7725

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The ethereal atmosphere of his works is what initially drew me in, serving as an inspiration source I kept in mind while shooting and editing my photographs for part B. The stark contrast of the bright points of light compared to the natural backgrounds inspired me to use a stronger flashlight to further illuminate the texture of the metal featured in my work.

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photographic prints on lustre finish paper
12 x 8, 6 x 8, 5 x 7 inch

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I chose to experiment with photography for my part A assignment regarding 'The Window'

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Digital art work I previously made as a part of an animation inspired the idea of looking at washing machines

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Notes on the successful aspects of my part A work and ideas on how I could expand this

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Acrylic paint and collage on wood panel

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I chose this as my final work for part A

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The recording taken at work- I incorporated the music and sounds of people talking into my design

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(b. 1978; American)
⁃ Works with a number of mediums (eg. Digital printing, collage, oil paint)
⁃ References to pop culture and art history ⁃ Emphasis on the experimental
⁃ Layered imagery
⁃ Art historian Richard Shiff “[Williams] art is infectious in causing others to ponder the importance-or not-of anything. It’s a start-all-over-again art for a start-all-over-again life.”

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Michael Williams (b. 1978, Doylestown, Pennsylvania) negotiates the long history of painting by consistently questioning-and often undoing-its major components. Challenging himself with an ever-evolving set of formal problems, he produces images that reflect modern complexity and contradiction. Recent works have been made using a variety of different materials and tools, including oil paint, collage, and airbrushes; some have been composed on a computer using Photoshop and a digital drawing pad before being inkjet-printed onto canvas. In the execution of his images Williams twists together a balance of offhanded gesture and careful compositional rigor, making decisions that keep his paintings willfully misoriented. As art historian Richard Shiff notes, "[Williams's] art is infectious in causing others to ponder the importance-or not-of anything. It's a start-all-over-again art for a start-all-over-again life."

Michael Williams has been the subject of solo and two-person exhibitions at LOK, the Kunstzone in the Lokremise, Kunstmuseum St.Gallen, Switzerland (2021); Le Consortium, Dijon, France (with Tobias Pils, 2017); Carnegie Museum of Art, Pittsburgh (2017); Musée des Beaux-Arts de Montréal, Canada (2015); and Gallery Met, New York (2015). Recent group shows include .paint, Museum of Contemporary Art Chicago (2020); Joe Bradley, Oscar Tuazon, Michael Williams, Brant Foundation Art Study Center, Greenwich, Connecticut (2018); The Trick Brain, Aïshti Foundation, Lebanon (2017); High Anxiety: New Acquisitions, Rubell Family Collection, Miami (2016); Artists and Poets, Secession, Vienna (2015); and The Forever Now: Contemporary Painting in an Atemporal World, Museum of Modern Art, New York (2014). His work is in the permanent collections of institutions including the Dallas Museum of Art; Museum of Modern Art, New York; Whitney Museum of American Art, New York; and Musée des Beaux-Arts de Montréal, Canada. Williams lives and works in Los Angeles.

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Michael Williams (b. 1978, Doylestown, Pennsylvania) negotiates the long history of painting by consistently questioning-and often undoing-its major components. Challenging himself with an ever-evolving set of formal problems, he produces images that reflect modern complexity and contradiction.

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First print- it tuned out patchy as the wooden block used initially absorbs some of the ink

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Through my work, I explore the visual representation of an audio sample by placing emphasis on the use of line to create a directional work that draws the audience to consider each element of the design. I aimed to convey a journey within the work with movement as a focal point, drawing inspiration from Julie Mehretu’s abstracted paintings, drawings and prints to imbue the image of a landscape while using the audio clip taken from my workplace to determine the elements and shapes featured.
The clip includes a clear rise and fall of volume, as indicated by the literal portrayal of rising and falling hill-like forms while my individual interpretation of the audio content informed my choice of sharp and soft lines.

The audience’s eye is drawn horizontally along the work to follow the repetitive lines, before focus is shifted to the isolated vertical line and two circles, providing contrasting points of interest within the work while continuing to establish line as the primary technique employed to form the design. It remains true to a rather literal interpretation of sound, while the concept behind it aims to document the process within the work and highlight the material used, such as the evident scratched sections emphasising the quality of the wood the design was initially carved into in addition to alluding to the emotions experienced by the artist at the time.

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Experiments with a clip on macro lens on my phone

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The furthest successful step of the process I achieved

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Starting to paint the wooden board I used as my canvas

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I drew conceptual inspiration from Williams in both my part A and B assignments to explore the idea of process and evolution being visible within a work

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(b. 1970 in Ethiopia; American)
⁃ Contemporary artist known for abstracted landscapes
⁃ Paintings created with emphasis on layering
⁃ Dynamic and immersive imagery
⁃ Use of expressive line

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Julie Mehretu's work is about layers: the physical layering of images, marks, and mediums, and the figurative layering of time, space, place, and history. Working in a large scale, Mehretu draws on the 21st-century city for inspiration, transferring its energy into her gestural sweeps of paint and built-up marks in ink and pencil-often transposed from projections-and condensing seemingly infinite urban narratives, architectural views, and street plans into single unified compositions. "The narratives come together to create this overall picture that you see from the distance," she says. "As you come close to it [...] the big picture completely shatters and there are these numerous small narratives happening." Mehretu layers a range of influences and art historical references as well, from the dynamism espoused by the Futurists, to the scale and physicality of Abstract Expressionism, to the divergent markmaking of Albrecht Dürer, Eastern calligraphy, and graffiti. Mehretu was awarded a MacArthur Fellowship in 2005.

Julie Mehretu's work is about layers: the physical layering of images, marks, and mediums, and the figurative layering of time, space, place, and history. Working in a large scale, Mehretu draws on the 21st-century city for inspiration, transferring its energy into her gestural sweeps of paint and built-up marks in ink and pencil-often transposed from projections-and condensing seemingly infinite urban narratives, architectural views, and street plans into single unified compositions. "The narratives come together to create this overall picture that you see from the distance," she says. "As you come close to it [...] the big picture completely shatters and there are these numerous small narratives happening." Mehretu layers a range of influences and art historical references as well, from the dynamism espoused by the Futurists, to the scale and physicality of Abstract Expressionism, to the divergent markmaking of Albrecht Dürer, Eastern calligraphy, and graffiti. Mehretu was awarded a MacArthur Fellowship in 2005.

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Julie Mehretu's work is about layers: the physical layering of images, marks, and mediums, and the figurative layering of time, space, place, and history. Working in a large scale, Mehretu draws on the 21st-century city for inspiration, transferring its energy into her gestural sweeps of paint and built-up marks in ink and pencil-often transposed from projections-and condensing seemingly infinite urban narratives, architectural views, and street plans into single unified compositions.

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I created the positives and exposed the screen, but unfortunately only got one step into the printing process. My blue background worked well, but I struggled to find a successful colour to start the next layer. Due to poor weather extending drying time and the fast paced classes, I wasn't able to finish or find the time for a catch up class but I still enjoyed the process and would like to experiment with it again.

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Photos taken using a 35mm camera and black and white film

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I really enjoyed using a film camera for the first time, especially as I found each photo requires more attention to the settings and consideration of lighting than using a digital camera. I’m pleased with the way the photos turned out, and would like to explore this medium more in the future.

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Soundscape using recorded sounds of water, walking, and trains edited using adobe premiere pro

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I’m happy with the way this turned out, I think it’s a little repetitive but effectively creates an industrial sounding atmosphere for my chosen image. If experimenting with sound again I would record a larger range of sounds and spend more time layering effects rather than just picking them at random.

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Building and painting of monochrome sculpture

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My first attempt at creating prints using the darkroom facilities, I think that the strong contrast paired with my composition decisions create effective works. This is definitely a process I am interested in exploring more in future projects

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Taken using a DSLR camera and using the lighting studios, these photos were my first introduction to photography. I believe they turned out well and I discovered an interest in 4D, later deciding to pursue photography in both assignments.

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Painting of my sculpture from early to final stages

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Explored the concept of memory by using items that have personal value to me- my old Nintendo Dsi I used a lot when I was younger, a friendship necklace given to me by my best friend before I moved to Australia from England, and a beaded necklace given to me from a friend when I was around 5 years old

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I struggled to paint this as it was my first ever self portrait and trying to create something with features exaggerated or abstracted was very unfamiliar territory.