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Lamp Crush, oil and acrylic on canvas, 49 x 44”, 2026. Part of “Stay With Me (Neither Here nor There)” in Shanghai @galleryvacancy

FORTHCOMING_

Stay with Me (Neither Here nor There)
March 18–April 30, 2026

Andrius Alvarez-Backus 
Christopher Hartmann 
Isaac Fujita Howell 
Luo Ran
Sarah Slappey
Woo Hannah

和我在一起（漫无边际）
3月18日–4月30日

安德鲁斯・阿尔瓦雷斯-巴克斯
克里斯托弗・哈特曼
艾萨克・藤田 聪・霍威尔
罗然
莎拉・斯拉佩
禹汉娜

Opening_ 15–19:00, Wednesday, March 18

The exhibition takes its cue from a familiar idiom—neither here nor there—which in a casual sense names a condition of drift, misalignment, or insignificance. Paired with the direct appeal of stay with me, the title opens a paradox: a request for closeness addressed to a state that refuses fixed location. In such an atmosphere, connection does not rely on fixed guarantees; instead, it finds its pivot within constant movement, making “staying together” a dynamic process that requires perpetual reconfirmation.

Image_
Sarah Slappey
Lamp Crush, 2026
Oil on canvas
122 x 111.8 cm
48 x 44 in

Special thanks to @bernheimgallery
．
@sslappey #sarahslappey #staywithmeneitherherenorethere

FORTHCOMING_

Stay with Me (Neither Here nor There)
March 18–April 30, 2026

Andrius Alvarez-Backus 
Christopher Hartmann 
Isaac Fujita Howell 
Luo Ran
Sarah Slappey
Woo Hannah

和我在一起（漫无边际）
3月18日–4月30日

安德鲁斯・阿尔瓦雷斯-巴克斯
克里斯托弗・哈特曼
艾萨克・藤田 聪・霍威尔
罗然
莎拉・斯拉佩
禹汉娜

Opening_ 15–19:00, Wednesday, March 18

The exhibition takes its cue from a familiar idiom—neither here nor there—which in a casual sense names a condition of drift, misalignment, or insignificance. Paired with the direct appeal of stay with me, the title opens a paradox: a request for closeness addressed to a state that refuses fixed location. In such an atmosphere, connection does not rely on fixed guarantees; instead, it finds its pivot within constant movement, making “staying together” a dynamic process that requires perpetual reconfirmation.

Image_
Sarah Slappey
Lamp Crush, 2026
Oil on canvas
122 x 111.8 cm
48 x 44 in

Special thanks to @bernheimgallery
．
@sslappey #sarahslappey #staywithmeneitherherenorethere

FORTHCOMING_

Stay with Me (Neither Here nor There)
March 18–April 30, 2026

Andrius Alvarez-Backus 
Christopher Hartmann 
Isaac Fujita Howell 
Luo Ran
Sarah Slappey
Woo Hannah

和我在一起（漫无边际）
3月18日–4月30日

安德鲁斯・阿尔瓦雷斯-巴克斯
克里斯托弗・哈特曼
艾萨克・藤田 聪・霍威尔
罗然
莎拉・斯拉佩
禹汉娜

Opening_ 15–19:00, Wednesday, March 18

The exhibition takes its cue from a familiar idiom—neither here nor there—which in a casual sense names a condition of drift, misalignment, or insignificance. Paired with the direct appeal of stay with me, the title opens a paradox: a request for closeness addressed to a state that refuses fixed location. In such an atmosphere, connection does not rely on fixed guarantees; instead, it finds its pivot within constant movement, making “staying together” a dynamic process that requires perpetual reconfirmation.

Image_
Sarah Slappey
Lamp Crush, 2026
Oil on canvas
122 x 111.8 cm
48 x 44 in

Special thanks to @bernheimgallery
．
@sslappey #sarahslappey #staywithmeneitherherenorethere

Chalkboard, 28x26”, oil on canvas, 2025. Part of “Search for Tomorrow” @bernheimgallery (Zurich)

Chalkboard, 28x26”, oil on canvas, 2025. Part of “Search for Tomorrow” @bernheimgallery (Zurich)

“Search for Tomorrow”, @bernheimgallery (Zurich), is now open! Works by: Mitchell Anderson · Cristine Brache · Klodin Erb • Ma Bu Guo · Min-Jia · Jure Kastelic · Tomoya Kato • Ebecho Muslimova · Denis Savary • Ilana Savdie · Ding Shilun · Sarah Slappey • Kodai Ujiie · Banks Violette • Tom Waring · Tsai Yun-Ju

Clamp, oil and acrylic on canvas, 61x55”, 2025–part of Search for Tomorrow, a celebration of the 10 year anniversary of @bernheimgallery 🥂 currently open in London. The second half of the show opens in Zurich on Nov 19th ❤️❤️❤️

Clamp, oil and acrylic on canvas, 61x55”, 2025–part of Search for Tomorrow, a celebration of the 10 year anniversary of @bernheimgallery 🥂 currently open in London. The second half of the show opens in Zurich on Nov 19th ❤️❤️❤️

Clamp, oil and acrylic on canvas, 61x55”, 2025–part of Search for Tomorrow, a celebration of the 10 year anniversary of @bernheimgallery 🥂 currently open in London. The second half of the show opens in Zurich on Nov 19th ❤️❤️❤️

Clamp, oil and acrylic on canvas, 61x55”, 2025–part of Search for Tomorrow, a celebration of the 10 year anniversary of @bernheimgallery 🥂 currently open in London. The second half of the show opens in Zurich on Nov 19th ❤️❤️❤️

Clamp, oil and acrylic on canvas, 61x55”, 2025–part of Search for Tomorrow, a celebration of the 10 year anniversary of @bernheimgallery 🥂 currently open in London. The second half of the show opens in Zurich on Nov 19th ❤️❤️❤️

A tangled nest of interwoven limbs rendered in pastel pinks and blues. A silky ribbon affixed to skin with safety pins. Corded phone lines and strings of pearls that snake around hands and feet. For artist Sarah Slappey, the body is both subject and setting. It entrances and repels, can be beautiful and grotesque. Above all, it is a means of artistic exploration that defies neat categorization.

In Slappey’s world, skin takes on a rubbery sheen, breasts sport hornlike nipples, nails sprout tiny flames of fire. A body’s vitality is expressed in bleeding limbs and playful gestures, and yet there is a disconnect between the recognizable extremities we see in Slappey’s paintings and drawings and the anatomy of the human form. Her work is not figurative. It avoids the worshipful representation of the feminine body we see in so many classical works of art—painstaking renderings of curves, hips, breasts, and the like. Instead, Slappey deconstructs the corpus piece by piece. She pays careful attention to the details of her work, her precision almost reverent in its execution. But the body itself, while the subject, is not the point.
Read the full article by Emilie Murphy on @sslappey now on Hi-Fructose

A tangled nest of interwoven limbs rendered in pastel pinks and blues. A silky ribbon affixed to skin with safety pins. Corded phone lines and strings of pearls that snake around hands and feet. For artist Sarah Slappey, the body is both subject and setting. It entrances and repels, can be beautiful and grotesque. Above all, it is a means of artistic exploration that defies neat categorization.

In Slappey’s world, skin takes on a rubbery sheen, breasts sport hornlike nipples, nails sprout tiny flames of fire. A body’s vitality is expressed in bleeding limbs and playful gestures, and yet there is a disconnect between the recognizable extremities we see in Slappey’s paintings and drawings and the anatomy of the human form. Her work is not figurative. It avoids the worshipful representation of the feminine body we see in so many classical works of art—painstaking renderings of curves, hips, breasts, and the like. Instead, Slappey deconstructs the corpus piece by piece. She pays careful attention to the details of her work, her precision almost reverent in its execution. But the body itself, while the subject, is not the point.
Read the full article by Emilie Murphy on @sslappey now on Hi-Fructose

A tangled nest of interwoven limbs rendered in pastel pinks and blues. A silky ribbon affixed to skin with safety pins. Corded phone lines and strings of pearls that snake around hands and feet. For artist Sarah Slappey, the body is both subject and setting. It entrances and repels, can be beautiful and grotesque. Above all, it is a means of artistic exploration that defies neat categorization.

In Slappey’s world, skin takes on a rubbery sheen, breasts sport hornlike nipples, nails sprout tiny flames of fire. A body’s vitality is expressed in bleeding limbs and playful gestures, and yet there is a disconnect between the recognizable extremities we see in Slappey’s paintings and drawings and the anatomy of the human form. Her work is not figurative. It avoids the worshipful representation of the feminine body we see in so many classical works of art—painstaking renderings of curves, hips, breasts, and the like. Instead, Slappey deconstructs the corpus piece by piece. She pays careful attention to the details of her work, her precision almost reverent in its execution. But the body itself, while the subject, is not the point.
Read the full article by Emilie Murphy on @sslappey now on Hi-Fructose

A tangled nest of interwoven limbs rendered in pastel pinks and blues. A silky ribbon affixed to skin with safety pins. Corded phone lines and strings of pearls that snake around hands and feet. For artist Sarah Slappey, the body is both subject and setting. It entrances and repels, can be beautiful and grotesque. Above all, it is a means of artistic exploration that defies neat categorization.

In Slappey’s world, skin takes on a rubbery sheen, breasts sport hornlike nipples, nails sprout tiny flames of fire. A body’s vitality is expressed in bleeding limbs and playful gestures, and yet there is a disconnect between the recognizable extremities we see in Slappey’s paintings and drawings and the anatomy of the human form. Her work is not figurative. It avoids the worshipful representation of the feminine body we see in so many classical works of art—painstaking renderings of curves, hips, breasts, and the like. Instead, Slappey deconstructs the corpus piece by piece. She pays careful attention to the details of her work, her precision almost reverent in its execution. But the body itself, while the subject, is not the point.
Read the full article by Emilie Murphy on @sslappey now on Hi-Fructose

A tangled nest of interwoven limbs rendered in pastel pinks and blues. A silky ribbon affixed to skin with safety pins. Corded phone lines and strings of pearls that snake around hands and feet. For artist Sarah Slappey, the body is both subject and setting. It entrances and repels, can be beautiful and grotesque. Above all, it is a means of artistic exploration that defies neat categorization.

In Slappey’s world, skin takes on a rubbery sheen, breasts sport hornlike nipples, nails sprout tiny flames of fire. A body’s vitality is expressed in bleeding limbs and playful gestures, and yet there is a disconnect between the recognizable extremities we see in Slappey’s paintings and drawings and the anatomy of the human form. Her work is not figurative. It avoids the worshipful representation of the feminine body we see in so many classical works of art—painstaking renderings of curves, hips, breasts, and the like. Instead, Slappey deconstructs the corpus piece by piece. She pays careful attention to the details of her work, her precision almost reverent in its execution. But the body itself, while the subject, is not the point.
Read the full article by Emilie Murphy on @sslappey now on Hi-Fructose

A tangled nest of interwoven limbs rendered in pastel pinks and blues. A silky ribbon affixed to skin with safety pins. Corded phone lines and strings of pearls that snake around hands and feet. For artist Sarah Slappey, the body is both subject and setting. It entrances and repels, can be beautiful and grotesque. Above all, it is a means of artistic exploration that defies neat categorization.

In Slappey’s world, skin takes on a rubbery sheen, breasts sport hornlike nipples, nails sprout tiny flames of fire. A body’s vitality is expressed in bleeding limbs and playful gestures, and yet there is a disconnect between the recognizable extremities we see in Slappey’s paintings and drawings and the anatomy of the human form. Her work is not figurative. It avoids the worshipful representation of the feminine body we see in so many classical works of art—painstaking renderings of curves, hips, breasts, and the like. Instead, Slappey deconstructs the corpus piece by piece. She pays careful attention to the details of her work, her precision almost reverent in its execution. But the body itself, while the subject, is not the point.
Read the full article by Emilie Murphy on @sslappey now on Hi-Fructose

A tangled nest of interwoven limbs rendered in pastel pinks and blues. A silky ribbon affixed to skin with safety pins. Corded phone lines and strings of pearls that snake around hands and feet. For artist Sarah Slappey, the body is both subject and setting. It entrances and repels, can be beautiful and grotesque. Above all, it is a means of artistic exploration that defies neat categorization.

In Slappey’s world, skin takes on a rubbery sheen, breasts sport hornlike nipples, nails sprout tiny flames of fire. A body’s vitality is expressed in bleeding limbs and playful gestures, and yet there is a disconnect between the recognizable extremities we see in Slappey’s paintings and drawings and the anatomy of the human form. Her work is not figurative. It avoids the worshipful representation of the feminine body we see in so many classical works of art—painstaking renderings of curves, hips, breasts, and the like. Instead, Slappey deconstructs the corpus piece by piece. She pays careful attention to the details of her work, her precision almost reverent in its execution. But the body itself, while the subject, is not the point.
Read the full article by Emilie Murphy on @sslappey now on Hi-Fructose

A tangled nest of interwoven limbs rendered in pastel pinks and blues. A silky ribbon affixed to skin with safety pins. Corded phone lines and strings of pearls that snake around hands and feet. For artist Sarah Slappey, the body is both subject and setting. It entrances and repels, can be beautiful and grotesque. Above all, it is a means of artistic exploration that defies neat categorization.

In Slappey’s world, skin takes on a rubbery sheen, breasts sport hornlike nipples, nails sprout tiny flames of fire. A body’s vitality is expressed in bleeding limbs and playful gestures, and yet there is a disconnect between the recognizable extremities we see in Slappey’s paintings and drawings and the anatomy of the human form. Her work is not figurative. It avoids the worshipful representation of the feminine body we see in so many classical works of art—painstaking renderings of curves, hips, breasts, and the like. Instead, Slappey deconstructs the corpus piece by piece. She pays careful attention to the details of her work, her precision almost reverent in its execution. But the body itself, while the subject, is not the point.
Read the full article by Emilie Murphy on @sslappey now on Hi-Fructose

A tangled nest of interwoven limbs rendered in pastel pinks and blues. A silky ribbon affixed to skin with safety pins. Corded phone lines and strings of pearls that snake around hands and feet. For artist Sarah Slappey, the body is both subject and setting. It entrances and repels, can be beautiful and grotesque. Above all, it is a means of artistic exploration that defies neat categorization.

In Slappey’s world, skin takes on a rubbery sheen, breasts sport hornlike nipples, nails sprout tiny flames of fire. A body’s vitality is expressed in bleeding limbs and playful gestures, and yet there is a disconnect between the recognizable extremities we see in Slappey’s paintings and drawings and the anatomy of the human form. Her work is not figurative. It avoids the worshipful representation of the feminine body we see in so many classical works of art—painstaking renderings of curves, hips, breasts, and the like. Instead, Slappey deconstructs the corpus piece by piece. She pays careful attention to the details of her work, her precision almost reverent in its execution. But the body itself, while the subject, is not the point.
Read the full article by Emilie Murphy on @sslappey now on Hi-Fructose

A tangled nest of interwoven limbs rendered in pastel pinks and blues. A silky ribbon affixed to skin with safety pins. Corded phone lines and strings of pearls that snake around hands and feet. For artist Sarah Slappey, the body is both subject and setting. It entrances and repels, can be beautiful and grotesque. Above all, it is a means of artistic exploration that defies neat categorization.

In Slappey’s world, skin takes on a rubbery sheen, breasts sport hornlike nipples, nails sprout tiny flames of fire. A body’s vitality is expressed in bleeding limbs and playful gestures, and yet there is a disconnect between the recognizable extremities we see in Slappey’s paintings and drawings and the anatomy of the human form. Her work is not figurative. It avoids the worshipful representation of the feminine body we see in so many classical works of art—painstaking renderings of curves, hips, breasts, and the like. Instead, Slappey deconstructs the corpus piece by piece. She pays careful attention to the details of her work, her precision almost reverent in its execution. But the body itself, while the subject, is not the point.
Read the full article by Emilie Murphy on @sslappey now on Hi-Fructose

𝗦𝗮𝗿𝗮𝗵 𝗦𝗹𝗮𝗽𝗽𝗲𝘆
𝘚𝘩𝘦𝘭𝘧 𝘚𝘲𝘶𝘦𝘦𝘻𝘦, 2025
Oil and acrylic on canvas
55 x 49 in - 139.7 x 124.5 cm

In 𝘚𝘩𝘦𝘭𝘧 𝘚𝘲𝘶𝘦𝘦𝘻𝘦 - the first work in a new series on “the woman in the home” - Sarah Slappey extends the psychological imagery of Louise Bourgeois, using domestic form to probe the inner life of femininity. The painting also marks a technical shift: rendered in thinner, stained layers, Slappey’s figure feels absorbed into the space around her rather than standing apart, a ghostly merge of body and interior that mirrors the blurred boundaries of domestic life.

Behind her, Slappey inserts a fragment of Balthus’s 𝘛𝘩𝘦 𝘔𝘰𝘶𝘯𝘵𝘢𝘪𝘯, forcing Bourgeois and Balthus into dialogue: two artists who approached sexuality, youth, and the feminine body from opposite poles of experience and desire. By highlighting only the girls’ faces within the borrowedBalthus landscape, she quietly restores their agency.

Across shelf and figure, an old phone cord loops and tangles; a relic of girlhood communication and secrecy, part lifeline, part snare. Its small breaks suggest both rupture and celebration, a thread between intimacy and constraint.

On view in 𝘛𝘩𝘦 𝘎𝘰𝘥 𝘰𝘧 𝘵𝘩𝘦 𝘉𝘢𝘺 𝘰𝘧 𝘙𝘰𝘴𝘦𝘴 through December 18th.

@sslappey

𝗦𝗮𝗿𝗮𝗵 𝗦𝗹𝗮𝗽𝗽𝗲𝘆
𝘚𝘩𝘦𝘭𝘧 𝘚𝘲𝘶𝘦𝘦𝘻𝘦, 2025
Oil and acrylic on canvas
55 x 49 in - 139.7 x 124.5 cm

In 𝘚𝘩𝘦𝘭𝘧 𝘚𝘲𝘶𝘦𝘦𝘻𝘦 - the first work in a new series on “the woman in the home” - Sarah Slappey extends the psychological imagery of Louise Bourgeois, using domestic form to probe the inner life of femininity. The painting also marks a technical shift: rendered in thinner, stained layers, Slappey’s figure feels absorbed into the space around her rather than standing apart, a ghostly merge of body and interior that mirrors the blurred boundaries of domestic life.

Behind her, Slappey inserts a fragment of Balthus’s 𝘛𝘩𝘦 𝘔𝘰𝘶𝘯𝘵𝘢𝘪𝘯, forcing Bourgeois and Balthus into dialogue: two artists who approached sexuality, youth, and the feminine body from opposite poles of experience and desire. By highlighting only the girls’ faces within the borrowedBalthus landscape, she quietly restores their agency.

Across shelf and figure, an old phone cord loops and tangles; a relic of girlhood communication and secrecy, part lifeline, part snare. Its small breaks suggest both rupture and celebration, a thread between intimacy and constraint.

On view in 𝘛𝘩𝘦 𝘎𝘰𝘥 𝘰𝘧 𝘵𝘩𝘦 𝘉𝘢𝘺 𝘰𝘧 𝘙𝘰𝘴𝘦𝘴 through December 18th.

@sslappey

Open now in London and soon in Zurich! Happy 10 year anniversary to @bernheimgallery and here’s to many more. 🍾🥂🪩

Sarah Slappey
Shelf Squeeze, 2025
Unique, Hand painted (oil), 1/1
Hand signed on verso

Bidding Opens October 22
Closes November 5th - 2pm EST
@theauctioncollective

Opening Bid: $1500
Value: Priceless

ARTIST PLATE PROJECT x ARTWALK NY
100 PLATES, 100 ARTISTS
TO BENEFIT COALITION FOR THE HOMELESS
@NYHOMELESS

100 original works of art, each individually created by celebrated contemporary artists on a plate made of fine bone china. Each plate is a one-of-a-kind collectible masterpiece, 1/1, making this a rare opportunity to acquire a truly unique and singular work of art by a renowned artist.

@artistplateproject @artwalkny to benefit @nyhomeless

Pre-Register to bid - Link in bio

@sslappey #SarahSlappey #artistplateproject #artwalkny @bernheimgallery

#Accessibility Description
A plate displaying artwork of a stylized human figure entangled within a cage-like structure. The figure appears contorted with soft, muted skin tones.

Sarah Slappey
Shelf Squeeze, 2025
Unique, Hand painted (oil), 1/1
Hand signed on verso

Bidding Opens October 22
Closes November 5th - 2pm EST
@theauctioncollective

Opening Bid: $1500
Value: Priceless

ARTIST PLATE PROJECT x ARTWALK NY
100 PLATES, 100 ARTISTS
TO BENEFIT COALITION FOR THE HOMELESS
@NYHOMELESS

100 original works of art, each individually created by celebrated contemporary artists on a plate made of fine bone china. Each plate is a one-of-a-kind collectible masterpiece, 1/1, making this a rare opportunity to acquire a truly unique and singular work of art by a renowned artist.

@artistplateproject @artwalkny to benefit @nyhomeless

Pre-Register to bid - Link in bio

@sslappey #SarahSlappey #artistplateproject #artwalkny @bernheimgallery

#Accessibility Description
A plate displaying artwork of a stylized human figure entangled within a cage-like structure. The figure appears contorted with soft, muted skin tones.

Sarah Slappey
Shelf Squeeze, 2025
Unique, Hand painted (oil), 1/1
Hand signed on verso

Bidding Opens October 22
Closes November 5th - 2pm EST
@theauctioncollective

Opening Bid: $1500
Value: Priceless

ARTIST PLATE PROJECT x ARTWALK NY
100 PLATES, 100 ARTISTS
TO BENEFIT COALITION FOR THE HOMELESS
@NYHOMELESS

100 original works of art, each individually created by celebrated contemporary artists on a plate made of fine bone china. Each plate is a one-of-a-kind collectible masterpiece, 1/1, making this a rare opportunity to acquire a truly unique and singular work of art by a renowned artist.

@artistplateproject @artwalkny to benefit @nyhomeless

Pre-Register to bid - Link in bio

@sslappey #SarahSlappey #artistplateproject #artwalkny @bernheimgallery

#Accessibility Description
A plate displaying artwork of a stylized human figure entangled within a cage-like structure. The figure appears contorted with soft, muted skin tones.

Sarah Slappey
Shelf Squeeze, 2025
Unique, Hand painted (oil), 1/1
Hand signed on verso

Bidding Opens October 22
Closes November 5th - 2pm EST
@theauctioncollective

Opening Bid: $1500
Value: Priceless

ARTIST PLATE PROJECT x ARTWALK NY
100 PLATES, 100 ARTISTS
TO BENEFIT COALITION FOR THE HOMELESS
@NYHOMELESS

100 original works of art, each individually created by celebrated contemporary artists on a plate made of fine bone china. Each plate is a one-of-a-kind collectible masterpiece, 1/1, making this a rare opportunity to acquire a truly unique and singular work of art by a renowned artist.

@artistplateproject @artwalkny to benefit @nyhomeless

Pre-Register to bid - Link in bio

@sslappey #SarahSlappey #artistplateproject #artwalkny @bernheimgallery

#Accessibility Description
A plate displaying artwork of a stylized human figure entangled within a cage-like structure. The figure appears contorted with soft, muted skin tones.

After much effort to navigate the IG censorship of my 2024 London show, I’ve just decided to remove many of the images of it here. But thank you for the people who saw it IRL! And of course they’re still on my website.
Lastly, thank you ever so much to @eddyfffrankel @timeoutlondon for the two reviews of the show that captured *exactly* what I’m after plus some. It’s been a tough year in the US, and reflecting on these throughout 2025 has never stopped giving me a smile.

After much effort to navigate the IG censorship of my 2024 London show, I’ve just decided to remove many of the images of it here. But thank you for the people who saw it IRL! And of course they’re still on my website.
Lastly, thank you ever so much to @eddyfffrankel @timeoutlondon for the two reviews of the show that captured *exactly* what I’m after plus some. It’s been a tough year in the US, and reflecting on these throughout 2025 has never stopped giving me a smile.

After much effort to navigate the IG censorship of my 2024 London show, I’ve just decided to remove many of the images of it here. But thank you for the people who saw it IRL! And of course they’re still on my website.
Lastly, thank you ever so much to @eddyfffrankel @timeoutlondon for the two reviews of the show that captured *exactly* what I’m after plus some. It’s been a tough year in the US, and reflecting on these throughout 2025 has never stopped giving me a smile.

After much effort to navigate the IG censorship of my 2024 London show, I’ve just decided to remove many of the images of it here. But thank you for the people who saw it IRL! And of course they’re still on my website.
Lastly, thank you ever so much to @eddyfffrankel @timeoutlondon for the two reviews of the show that captured *exactly* what I’m after plus some. It’s been a tough year in the US, and reflecting on these throughout 2025 has never stopped giving me a smile.

This Saturday, March 8, 2025, Sarah Slappey’s “Black Daisies” will be auctioned at ICA Miami’s Gala, the Evening in the Garden.

Make your reservation today by purchasing a table or individual tickets through the link in our bio.

Saturday, March 8, 2025 | 6 PM
Sculpture Garden | 61 NE 41st Street

Black Daisies, 2025
Oil and acyrlic on canvas
111.8 x 121.9 cm
44 x 48 in

#SarahSlappey #ICAMiami #Auction #Gala #ICAGala #EveningInTheGarden #BlackDaisies #AcrylicPainting #ContemporaryArt #Museum #BernheimGallery #BERNHEIM

Green and White Matrix, oil on canvas, 85 x 150 in, 2024. The panels are reversible with either the light or dark bodies centered, and the composition can repeat itself infinitely. From my show Bloodline in London with @bernheimgallery in October. (Reposting this #painting bc it keeps getting the 🚩😏 )

Green and White Matrix, oil on canvas, 85 x 150 in, 2024. The panels are reversible with either the light or dark bodies centered, and the composition can repeat itself infinitely. From my show Bloodline in London with @bernheimgallery in October. (Reposting this #painting bc it keeps getting the 🚩😏 )

Green and White Matrix, oil on canvas, 85 x 150 in, 2024. The panels are reversible with either the light or dark bodies centered, and the composition can repeat itself infinitely. From my show Bloodline in London with @bernheimgallery in October. (Reposting this #painting bc it keeps getting the 🚩😏 )

Green and White Matrix, oil on canvas, 85 x 150 in, 2024. The panels are reversible with either the light or dark bodies centered, and the composition can repeat itself infinitely. From my show Bloodline in London with @bernheimgallery in October. (Reposting this #painting bc it keeps getting the 🚩😏 )