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Photography (MA)

Sarabeth Domal

Sarabeth Domal (b. 1993) is an American artist based in London.

Her practice is concerned with reconstructed landscapes, and the capacity of photographic mediums to represent collective memory and temporality within the land. Through layers of interdisciplinary research, varied lens-based approaches, and auto-ethnographic writing, Sarabeth abstracts the familiar visual classification of landscapes, and contextualises landscape photography within current ecological realities. 

She graduated from Kenyon College with a BA in Studio Art (Distinction) in 2015 and joined the RCA in 2020. Her work has been featured in group exhibitions in New York, London, and Lisbon.

Show Location: Battersea campus: Dyson & Woo Buildings, First floor

Thin streaks of light above a horizon line over the ocean, before sunrise

Have you ever tried to auto-focus on Venus? (2022)

"The Fear" is an ongoing and ambitious body of visual work presented to the public for the first time at RCA 2022.  

Built from Sarabeth Domal's established practice of visualising landscapes as abstract representations of temporality and memory, The Fear documents the artist’s hometown, which is threatened by coastal erosion. This series utilises photographic compilations, video and moving image, and a varied writing practice to explore the relationship between a changing landscape and personal memory within the layered ecologies and systems that are encountered in this process. 

The result is an intersectional body of work which redefines visual representations of landscapes as a space for critical inquiry. The work presented in RCA 2022 was made over the course of one immersive month, in which Sarabeth photographed two man-made jetties each morning and evening, while cohesively engaging in other forms of production, such as filmmaking, printmaking, writing and traditional research. 

The printed and projected works (which are on display in person) are compilations of the collected photographs, and serve as a partial record of her ritualistic process, which garners an understanding of the layers of change, influence, loss, ownership, power, language, melancholy, interpretations and time that can be found within this coastal land. Additional works from the The Fear are presented on this website below ↓


The Fear (2022 - ongoing) 

to fall in love with a disturbance (#27) - framed giclée print / in person, Battersea

the blue is beating (#28) - framed giclée print / in person, Battersea

in all its pulsing quiet - projection / in person, Battersea

Landfall - film / online

Jettisoned - photographic and research archive / online ↓

Most Frequent and Most Violent - Artist’s book / in person & online 

Landfall (2022)

A storm with a name. On this island, all winter storms are personified, for no other reason than to have someone to blame when the roads go slick, when the trees stretch the power cables and when the trains lose their grip. We curse Aiden or Eunice with a shake of the head and a full-body shiver at the bus stop. I’ve always wondered about the people who are unlucky enough to share their forename with a fleeting weather system. Do they get sidestepped at the pub, are they met with wide eyes at work, do they briefly feel formidable?

Many of the cyclonic systems which bring forceful winds to the British Isles have a not so distant past on the eastern coast of the Americas. The United States National Weather Service refuses to name chronic winter storms, they suspect that a familiar nomenclature leads the public to overestimate their own strength, to underestimate the threat. One such storm woke me up a few hours past midnight, in April this year. My bedroom window faces the garden of our neighbour, Donna, who has a pair of windchimes hung from the gutter above her side door. On a squinty summer day, they sound almost iridescent, but when met with eighty miles per hour winds, they edge towards frantic panic, beautifully menacing. I asked her how they survived the hurricanes. She shrugged. 

These storms, as they often blow through my hometown on the coast of New Jersey, are officially considered to be extratropical cyclonic storms born from low-pressure systems. We call them nor’easters. On the coast, they bring ocean surges, dangerous winds, and varied precipitation. A few miles inland, you’ll be covered in snow. As the global climate continues to destabilise, the warming temperatures over the Gulf of Mexico increase the intensity and danger of these nor’easters. Communities along the immediate coastline bear the brunt of the destruction, often helplessly watching the storm surge creep over the seawall.

Landfall is an observation of one anonymous nor’easter. Filmed in the three days before, during, and after the storm’s impact, this video is a reflection of the community that the storm interrupted.


Still #679
Still #679
Still #856
Still #856
Still #949
Still #949
Still #987
Still #987
Still #663
Still #663
Still #995
Still #995

The works presented in person at RCA 2022 are large-scale photographic compilations which represent two landscapes recorded continuously over the course of a month. The six photographs above are individual layers within these compilations, represented here as single images, an ongoing series which the artist calls “Stills”.

Something II
Most Frequent and Most Violent, media item 2
Most Frequent and Most Violent, media item 3
Most Frequent and Most Violent, media item 4

Most Frequent and Most Violent is an anthology of 35mm photographs, recollections and poetry written and recorded over three days, during a nor’easter.

  • Self-published by the artist
  • 139mm x 197mm 
  • 52 pages
  • First edition of 100
  • Hand numbered
  • Saddle stitch
  • Printed on Context Natural 115gsm (100% recycled) by Earthbound Press

To purchase:

RCA Shopify

Direct from the artist

Jettisoned is an incomplete archive of photographs which feature the man-made jetties and groins on the beaches of Avon by the Sea, New Jersey. These photographs were taken by the artist and are catal
Jettisoned is an incomplete archive of photographs which feature the man-made jetties and groins on the beaches of Avon by the Sea, New Jersey. These photographs were taken by the artist and are catalogued by year. The photographs range from accidental phone snaps to deliberate attempts to capture the evolution of these structures over the course of a lifetime. This project is ongoing, click "Launch Project" to explore.
Jettisoned, media item 2
Launch Project