Sarah Tomasetti holds a Master of Arts in Fine Art from RMIT and a Graduate Diploma in Italian Studies from La Trobe University. Drawn to explore the ancient method of fresco painting, she studied at the Laboratorio per Affresco di Vainello in Italy, where she learned, from a restorer’s perspective, how to create frescoes, obtaining a professional qualification in ‘Tecnica Pittura Murale’.

Sarah has held numerous solo exhibitions and has been featured in group exhibitions throughout Australia, Italy and Hong Kong, including the Salon des Refuses at S.H. Ervin Gallery in 2010 and 2011 and ‘Contemporary Australian Drawings at RMIT, also in 2011.  Earlier this year, an ambitious project Slow Melt, in collaboration with installation artist Heather Hesterman, was a focal point for The Warming at Australian Galleries, part of the art+climate change 2015 event held in Melbourne across 23 public and private venues. 

Her current work brings the concept of journey through inhospitable terrain together with the Melt, to form a meditation on our dependence on, and alienation from, wilderness. 

Sarah  has been a finalist in awards including the Fleurieu Prize for Landscape and the Jacaranda Acquisitive Drawing Award. Her work is held in public and private collections including Artbank, Macquarie Bank National Australia Bank and the Grafton Regional Gallery.

 


Artist's Statement

'Sarah Tomasettis’s works are a welcome antidote to the contemporary obsession with filling to the brim all the awkward silences in our lives. Acoustic, visual and ideological noise floods every conversation; inundating every image, every thought, every quiet landscape with human signification. No place or time, no entity, no history or memory is spared the torrent that constitutes our insidious imposition of meaning and reason. By contrast, in Tomasetti’s abstracted horizons and veiled mountainscapes we find, paradoxically, the monumental presence of nothingness. In the stillness of these between-worlds we come to question the nature and pervasiveness of everyday dichotomies: the rationalised divides between the here-and-there, past-and-future, absence-and-presence, terrestrial-and-celestial, and between the natural and human worlds.’ –Maurizio Toscano