Discover the Paintings of Sara Benninga

I am a contemporary artist creating large-scale vibrant oil paintings. My work explores the relationship between figure and background, a theme deeply rooted in my childhood memories and experiences. I deconstruct a dominant gaze, challenging traditional narratives of representation. My art is a balancing act, shaped by every facet of my body, mind, and imagination. It is an ongoing exploration of how I navigate differences, both personal and collective, and how I find connection in the midst of fragmentation. In this post, I will dive into my artistry, examining my techniques, inspirations, and contributions to the art world.

Benninga's Vision

My work delves into the complex relationship between figure and background, inspired by my childhood experiences. Growing up in Jerusalem, a city characterized by contrasts, I became captivated by the "Unheimlich"—the uncanny—and how figures interact with their environments. This unique backdrop has influenced my painting approach, prompting me to question the relevance and connections between elements. Are the figures related, or do they merely coexist by chance? These inquiries fuel my creative process, instilling a sense of unease that resonates throughout my work.

For example, in my last solo show "Hall of the Muses," I exposed canvas and opaque layers of colors, using varied materials such as dry pastels, acrylic and oil. The pictorial world I unfold is populated by figures in complex relationships and diverse situations—camaraderie, aggression, physicality, movement, sexuality, leisure, and voyeurism. Within and beyond the boundaries of each figure, there are overlapping parts of other figures, concealing and exposing one another. Thus, the main question in these paintings is: Where should one look first? What precedes what? And what is more important? With that, my works challenge the sense of certainty we gain from direct observation, introducing questions about how we search for and bestow meaning in the world of images around us.

Eye-level view of a "Blue Rhapsody" painting by Sara Benninga

In this series of artworks, I employed a technique that involves layering dry pastels and charcoal as the initial layer, followed by acrylics as the second layer, and finishing with oils as the third layer. Additionally, I incorporated the natural color of the canvas, left untouched, as part of my color palette.

Hall of the Muses: Technique and Process

Curator of Litvak Contemporary Hadas Glazer wrote about my technique and process in the curatorial text. Glazer writes:

"Benninga works with a wide range of techniques and materials, from chalk and oil color to spray paint and printing. Her work is also deeply informed by art history, since in addition to being a painter, she also holds a PhD in the history of art. Out of her deep familiarity with the history of painting, the artist undermines its conventions and hierarchies. Thus, for instance, the power dynamic between figures and elements is ambiguous, as the separation between figure and background is eliminated, and each element can take on every pictorial role; figures are duplicated and at times can become a pattern; there is no single perspective or one vanishing point; and large parts of the canvas are left completely exposed, serving as another color in the composition. This wealth allows her to elaborate and develop her techniques, creating new combinations. Each painting is done following a pre-determined limited color palette, usually blue, sanguine red or black, while occasionally these are joined and mixed with other colors. And so, in each series of works, there are links between the various paintings, which function together and separately, like words in a sentence."

A visitor explores the vibrant and expressive artworks in the "Hall of the Muses" installation, displayed at Litvak Contemporary in September 2023.

Inspirations Behind the Work

The title of my exhibition alludes to the Hall of the Muses located within the Vatican Museums, where I find statues of mythological deities and muses displayed together. Although these statues are of Roman origin, often inspired by Greek prototypes, the hall itself, adorned with striking Pompeian red walls, was established in the 18^th century. Upon entering, I feel enveloped in a profound emotional and sensory encounter with beauty and awe, abundance and grandeur, fascination and wonder. By invoking this intense experience, I aim to highlight how the interpretive, religious, artistic, and historical richness surrounding the space and its artworks diminishes in comparison to my physical and visual engagement within the gallery. 

Intersection, dry pastel and acrylic on canvas, 120x100 cm, from "Hall of the Muses"

Intersections

The title refers to the convergence of figures at the center of the canvas. The female figure on the left, resembling a female Silenus, holds grapes over a cup and is depicted in sketch-like outlines. In Greek mythology, Silenus, the male educator of Bacchus, reveals truths only when drunk; I have transformed him into a female. This gesture is inspired by an antique Silenus statue in the Vatican. The other figures, drawn from imagination, include a sanguine figure on the right looking up and a blue figure hanging from an unseen branch, forming the composition's basic lines leading to the intersection.

The intersection signifies both the convergence of figures at the center and the interplay between mythology and imagination, crafting an ambiguous narrative that may go unnoticed by the viewer. My intention is not to provide a definitive story but to encourage exploration and questioning of how we interpret mythology and narrative in varied ways.

This approach invites viewers to engage with the material on a deeper level, prompting them to reflect on their own readings and re-readings of these themes. By fostering this dialogue, I aim to highlight the fluidity of interpretation in both mythology and storytelling.

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For More Engagement

For those of us looking to engage with my work, there are numerous avenues available. Attending my exhibitions is a fantastic way to experience my art up-close. These exhibitions often include explanations of my pieces, providing context that enhances the viewing experience.

Additionally, following me on social media platforms offers insight into my creative process. Here, I share behind-the-scenes glimpses of my work, upcoming projects, and personal reflections. Engaging with artists online has become increasingly popular, leading to a more personal connection between me and my audience.

To explore my latest paintings and exhibitions, don't forget to visit Sara Benninga.