Sara Bjarland

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Takeoff, 2010 Hd Video 4:30min © Sara Bjarland
Ball of Queens, 2011 Sculpture Made Of Bumblebees, Polystyrene Ca 18x18x18cm © Sara Bjarland
Possible Wings, 2011 Installation; Found Objects On A Lightbox Ca 43x53x80cm © Sara Bjarland
Possible Wings, 2011 Installation; Found Objects On A Lightbox Ca 43x53x80cm © Sara Bjarland
Spare Parts, 2011 Installation With Insect Parts On Shelf Ca 15x20cm © Sara Bjarland
Particles / What to do when body parts fall off, 2011 Photograph Dimensions Variable © Sara Bjarland
Untitled (I) from series The Forsaken, 2011 Photograph 80x65cm © Sara Bjarland
Untitled (II) from series The Forsaken, 2011 Photograph 80x65cm © Sara Bjarland
Untitled (III) from series The Forsaken, 2011 Photograph 60x50cm © Sara Bjarland
Untitled (duo), 2011 Installation, Found Objects Ca 2x2m © Sara Bjarland
Untitled, 2011 Photo On Hahnemuhle Paper 70 X 60 © C3 Gallery
Anonymous, 2014 Inkjet Print On Aluminium 82,5 X 65 Cm, Ed 5 + 2 Ap © Sara Bjarland
Quick Facts
Birth year
Lives in
Works in
Amsterdam, London
The Slade School of Fine Art, 2005, MFA Fine Art Media
moving image, film, nature, death, decay, insects, animation, mundane installation, video-art, photography

My artistic practice is grounded in a fascination with nature; the natural world with its processes, cycles of life and death, animals, plants; nature as opposed to culture. Individual works then stem from a wish to examine and re-imagine this nature through different media. This fascination often takes form in obsessively and closely observing a specific subject or material: my way of looking is close-up, for a prolonged period of time. This approach could perhaps be said to refer to science or scientific methods, but instead of making definitions or accumulating scientific knowledge, I create images and open them up to other possible meanings.

I’m especially intrigued by the process of decay and death, in how ‘dead’ matter can be reanimated, and often use dead insects or organic materials to materialize these ideas. The pre-cinematic concept of animation, as in bringing life to the dead or movement to the still, informs a lot of my practice, manifesting itself in both still and moving works. My works could perhaps be called 're-animations' of nature; on a more philosophical level, I want my work to animate the imagination, to create thoughts about movement.

Behind these interests lies a deeper concern for the vulnerability of nature and the ‘nature deficit disorder', an alienation from nature, which is so symptomatic of the contemporary human; nature is conceived of as something external, as an object or place outside our own realm. Through my artistic practice I hope to question my own position in relation to nature, but also attitudes and representations of nature present in contemporary society.