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Sarah Lederman

Memories of Palm trees, 2017


Oil, Pigment, pencil  on canvas
70 x 80 cm

£3,500

in aid of Rhythms of Life

50% suggested donation

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Sarah Lederman

Drinking fresh mango juice- blue fish, 2019


Oil, pigment and pencil on canvas
51 x 55.5 cm

£2,300

in aid of Rhythms of Life

50% suggested donation

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Sarah Lederman

Spitting, 2019


Oil and pencil on canvas
43 x 45 cm

£2,300

in aid of Rhythms of Life

50% suggested donation

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Sarah Lederman

Strawberry, 2017


Oil and pastel on linen
121 x 100cm

£3,500

in aid of Rhythms of Life

50% suggested donation

Sarah Lederman’s career launched when she was chosen by world famous art collector, Kay Saatchi and curator Catriona Warren in 2008 for Saatchi’s famous ‘Anticipation’ exhibition as one of London’s most promising recent graduates and as an “Artists to Watch”. Since then Lederman’s work has been hotly in demand, with a long list of art prize nominations including the Sovereign European Art Prize, the Jerwood Painting Prize 2009, the London Open 2009, and winner of the Catlin Art Prize in 2009. Her paintings have also been exhibited in the US and Finland and are represented in many prestigious collections including David Roberts’ Art collection, The New Hall Art Collection and the University of Arts Collection.

Strongly influenced by childhood fantasies, fairytales and the loss of innocence, Sarah Lederman’s paintings focus on the adolescent body as a site of flux to engage with and disrupt traditional representations ideal femininity as neat, pretty and contained. Rather, Lederman exploits the materiality of paint to create nudes in drippy oils that re-present the female body as a site of freedom and fluidity.

Sarah Lederman:

"Drawings from a fractured narratives sprawl across the surface of my paintings. The imagery varies, often depicting memories of past places, people and moments; a palm tree from Los Angeles, a couple engaged in an intimate moment as one spits into the other’s mouth. At other times I appropriate images taken from illustrations and art history; medieval manuscripts, a picture from a children’s book. These can be grotesque hybrids of animals as well as bodies engulfed in sexual pleasure, often whimsical they can be both erotic and repellent.  Although the starting point for my work is often drawings and ideas, the paint will eventually take over. The figurative elements become less important and the negative space starts to take priority."