From The Studio Of… Sara Willett, click here to view the article recently published on Saatchi Online


The installation can be seen again during the Lewisham Arthouse Open Studios 2012

Saturday 6 / Sunday 7 October, 12pm - 6pm. Private View Friday 5 October 6pm - 9pm

Inspired by the famous biological illustrations of Ernst Haeckel (and in particular, his masterpiece Kunstformen Der Natur), this is an installation in which humble objects sourced from pound shops round Deptford are transformed to mimic the heightened aesthetics of micro/macrocosmic photography. Projections of these metamorphosized creations appear and disappear, filling the void with lurid quasi-biological forms.

Venue: The Lewisham Arthouse
140 Lewisham Way
SE14 6PD

A new installation by Sara Willett part of the Deptford X Festival 2012. Opens 27th July - 12th August


Opens Friday 27th July: 12 noon - Private View 6pm - 9pm

Exhibition continues 12 - 6pm Friday to Sunday until 12th August

News Archive

Who's Jack Magazine October 2011

Venturing into the chaos of any graduate show, it is often easy to feel disorientated by the maze of mixed mediums, lights, sounds and the odd dash of pretension. This year’s Camberwell postgraduate show, however, was visually accosting in the way that fresh, new and uninhibited artists excel at and displayed a wealth of exciting talent.

The work was enjoyably inversive: in one room a ‘feminist disco’ raged defiantly despite a distinct lack of ravers, a series of plaster black balloons were skillfully attached to the ceiling of the cubicles in the female toilet, half way down a seemingly innocuous corridor I became aware of a disturbing laughter which I was relieved to attribute to Alexander Small’s sound installations, and not my inner monologue. In another area ensnared within Sara Willett’s pitch-black installation strewn with a cobweb of rope two American students were to be found trying desperately to look intellectually absorbed, as opposed to lost.

A student show always provides a welcome counterpoint to the moneyed exhibitions of the commercial or publicly funded galleries. The strong pieces stand out all the more defiantly, and the lack of slick curation lends a dangerous (literally in some cases) and exciting feel to proceedings. For example Willett’s installation retains a sense of integrity perhaps lacking in Anthony Gormley’s debilitating Blind Light because there are no restrictions or limits, no health and safety attendants in American Apparel t-shirts overseeing proceedings. Instead you feel genuinely awkward and incapacitated and the work serves to do what good art should, take you outside of yourself for a minute or two.

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