IB VISUAL ARTS 2025

SARAH

Curatorial Rationale

The concept of good and evil has been continually explored in artistic expression across cultures and time. By examining their connection to human psychology and behaviour, I am fascinated by how, particularly, these negative forces manifest within us, driving our actions and decisions toward inevitable, self-wrought tragedy. Through my exhibition, I engage with the Seven Deadly Sins and the Four Horsemen of the Apocalypse as a mirror of humanity’s eternal struggle, exposing how desire and destruction are not just external phenomena but also truths within our own nature. Thus, my works invite the viewer to both reflect on innate human desire while also critique the broader notion of self-inflicted destruction driven by relentless greed, pride, envy and other enduring vices.

Throughout my exhibition, recurring motifs of gold and animals/insects permeate the works, providing not only visual coherence but also symbolic depth. Functioning as a dual symbol that evokes wealth and excess as well as divinity, gold is used to reflect the tensions between vice and virtue. Conversely, animals and insects embody primal instinct, expressing the innate nature of sin that lies beneath a human veneer of control and autonomy. Collectively, these motifs unify my exhibition, amplifying and reinforcing the central themes of sin and destruction, rooted in both the sacred and animalistic aspects of human existence.

My exhibition’s layout positions multiple artworks to encourage an instinctive response from the viewer, emphasising their ability to visualise and connect emotionally with the work. The sculpture, War, creates a personal and visceral encounter with the destructive forces of conflict. In contrast, the photographs of Sloth hang loosely, capturing the passivity and weight of this sin. Simultaneously, the concepts of the Four Horsemen are arranged in consecutive order from Conquest, War, Famine, and finally, Death. This invites the audience to witness their progression as an unfolding narrative of annihilation. Together, these works communicate a raw and tangible reflection of vice and mortality that confronts the viewer directly.

The central work of my exhibition is Pride, drawing on the concept of intense narcissism. A central and overarching inspiration for both this work and my exhibition as a whole comes from artists Auguste Toulmouche and John William Waterhouse, whose exploration of beauty, femininity and tension between allure and moral complexity informs not only the style but also the subject matter of my pieces. By placing all other works around, I position this piece as the exhibition’s focal point. This layout reflects the innate nature of sin itself – where pride often stands at the root of humanity’s downfall, anchoring and amplifying the presence of every other transgression. Thereby, presenting the exhibition space itself as a map of moral collapse.

Surrounding my central artwork are four digital paintings, offering a contemporary interpretation that resonates with viewers now in an age of digitalisation. While my works draw heavily from mythology and biblical narratives that often depict figures rooted in or inspired by past times, the digital medium brings these ancient concepts into the present. This contrast highlights the enduring connection between contemporary audiences and the timeless concepts of sin and destruction, which remain profoundly relevant today. Furthermore, by encircling the central piece, these paintings: Lust, Gluttony and Famine, Wrath, and Envy, reinforce how multiple sins intertwine and amplify one another.