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“ball asserts but also tests the notion that we all somehow ‘fit' together, bound by a kindred connection that makes us human”


sarah ball's most recent works are intricate and diminutive painted portraits taken from various photographic archives. in their distinct iterations and across decades, each archive delves into ideas surrounding 19th century physiognomy - which was a widely explored + believed notion that there was a connection between an individual’s outward appearance and their inner character - in essence good people ‘looked good’ + bad people ‘looked bad’. this research progressed to include alphone bertillon’s identification system. bertillon was a french police officer + biometrics researcher who applied the anthropological technique of anthropometry to law enforcement, creating an identification system based on physical measurements. explorations of ball's research based approach to her find  her subjects has led to bodies of work dealing with police 'mugshots', immigrants traveling through ellis island + mid 20th century romanian portraits. the newest works push the bertillon system by collating several different sources that "ask" the viewer for a response

sarah ball grew up in south yorkshire, england + studied at newport art college, wales. after working in london throughout the late 80's + 90's, she returned to wales to concentrate solely on painting + completed an mfa at bath spa university in 2005

acclaim for sarah ball continues to grow with paintings included in the royal academy of arts, london summer show in 2013, 2016 + 2018. ball was also awarded welsh artist of the year in 2013 after having been shortlisted in 2007 and 2009. sarah ball has been shortlisted for the threadneedle prize in 2009, 2016, 2016 + 2018. additional recent exhibitions include:  REALLY?, wilding cran gallery, los angeles, ca, curated by beth rudin dewoody, 2017; anima-mundi, st. ives, uk, 2017 [solo]; house of st barnabas, london, uk 2016 [solo]; tremenheere sculpture gardens, cornwall, 2015 [solo]