Sarah Diamantis is a Melbourne based, interdisciplinary artist working predominately with video art, but occasionally expands to working within painting, drawing and sculpture. She is interested in challenging what art is, arguing that merely existing is an artwork in itself. Previously her work has been experimental with no clear direction, creating works in a variety of differing styles, in an attempt to discover her true calling in the art world. Diamantis has recently realised her practice revolves around the everyday, attempting to capture those moments or those commonalities that often go unrecognised, as if their existence does not matter. Her works often link back to the self, often finding meaning that can be related back to on a personal level, once a work is in process or upon reflection after completing the piece.
1. "Hair" (2020)
Hair, 2020, is a sculptural piece utilising human hair from both Diamantis’ head, as well as a few others who had offered to donate their hair to the project. The hairs were first detangled in order for each individual hair to be placed onto a piece of tape. Each tape section was distributed evenly to create five bundles of hair. These were then all stuck onto miniature handmade coat hangers and hung onto a wooden coat rack. The hair was then straightened to create a more slick, uniform appearance, preventing them from intertwining with those on the other hangers.
Hair, explores the value society places on hair. It directly responds to the unethical practice of hair extension industry, but also to unrealistic beauty standards, worth and importance of hair. Society does not care about losing a few strands of hair at once and is regarded as disgusting, unappealing and grotesque when found. However, once a major amount of hair is lost, the value of ones hair is then assessed. This was learnt through witnessing her own mother losing her hair due to cancer, and other observations.
Why are wigs and hair extensions deemed as acceptable, but stray hairs are considered to be disgusting?
2. "The Vulnerability of (dis)Comfort" (2021)
Precious Memories, 2021 is a participatory piece in which gallery attendees are urged to participate by responding to prompts surrounding themes of comfort and discomfort, often times being things that people keep to themselves, or choose to only share with those they trust. These statements will be then compiled into a scrapbook, creating a piece filled with anonymous responses in an attempt to provide other gallery attendees and readers a feeling of comfort in shared discomfort.