The Impossible Places
By Sara Sahores | curation by Mora Pranteda
Private View: Thursday 25th June | 6:00pm – 9:00pm
Viewing dates: 25th June – 4th July | Monday – Friday, 10am – 5pm | Weekends by appointment
Closing Event: Saturday 4th July | 5pm – 7pm
Location: ASC Gallery
From 25th June to 6th July, ASC Gallery will present The Impossible Places, a solo exhibition by Sara Sahores. Curated by Mora Pranteda, the exhibition marks the artist’s first solo presentation in the UK following her receipt of the ASC Award in 2025. Bringing together a new series of works, The Impossible Places explores uncertainty through different landscapes.
The exhibition presents works that originate from screenshots appropriated from publicly accessible livestream surveillance camera footage. The works are captures of what Sahores has named ‘impossible places’: sites that remain physically inaccessible to the artist, landscapes that feel familiar and unknowable, real and imagined.
As in Sara’s previous body of work, the images are intentionally distanced from a lived reality; thereby, she continues to negate the documentary truism of the medium. This use of photography approximates that of a film still, inviting an alternate function: to confuse rather than clarify.
The medium of the screen print is not arbitrary; it transforms the low-resolution pixels of the surveillance camera into a blurred image rather than a pixelated one. The result is not a technical artifact of digital resolution, but a mysterious, clouded visual image. Upon closer inspection, each image becomes less recognisable, less clear, less revealing. A landscape becomes a vision and a space suspended in time.
Their (un)recognisability is also emphasised by the non-literal relationship between the image and their chosen names, inviting more questions than answers: where was it taken? What is this place? Could it be real? Though sourced through systems of surveillance and objects of recorded observation, when transposed to image, they become, for the spectator, personal encounters with a place of their creation. Ultimately, by escaping possibility, they escape meaning: the realities they depict only exist in the imagination, as a construction. The possibilities of worlds that can be constructed upon them are limitless.
Sara’s exhibition is an invitation to keep moving through the world with the eyes open, with curiosity. Not simply to observe, but to participate: to listen, to imagine, and to build stories within the spaces the images do not tell. Meaning is never singular. They remind us that understanding is always partial, always in motion; and that perhaps the value of art lies not in providing answers, but in teaching us how to stay with the question. Here, wonderful conversations can happen.
A written publication featuring texts by invited writers will accompany the exhibition and will be launched during the closing event on Saturday, 4th July.
In Conversation: A Mini Interview with Sara Sahores
Q. How would you describe the core concept behind The Impossible Places to someone seeing it for the first time?
Sara: I would encourage them to allow some space to look at the work without trying to find an explanation. Photography has a way of always getting people to ask what, where and who – and I’m more interested in the potential that images can have to open up other doors. The images come from livestream surveillance cameras, but the reason I started capturing them is because I was very intrigued by them. I liked the idea of being able to access places that I couldn’t reach in person. This is partly where the title comes from – on the one hand, these are places that I can’t access physically, some of them maybe ever – when will I be this close to an erupting volcano in person? (The answer is probably: never.) On the other hand, some of the images look like something other than what they are, and I really enjoy this game of ambiguity. I often even forget where the cameras were originally located. The images become what they are in my head, after they’ve lived in my digital archive and then in my studio for some time.
Q. Could you tell us about your medium, and why turning digital surveillance pixels into physical screen prints is so important to your process?
Sara: I work with different cameras and mediums and I like to experiment, and I try to pay attention to what each work is asking of me. I had been drawn to screen printing for some time, and I had tried it but I hadn’t quite found the images that made sense with it for me. I came across livestream surveillance cameras for the first time through a group project, and I remember finding a really good one and feeling jealous of it. I thought – this is such a good photo, I wish I had taken it. And once I started collecting surveillance imagery, it made sense to screen print them. I had finally found something that made sense for this medium that I was drawn to. Screen printing allows me, on the one hand, to embody the process of making the work. When I take a photo physically, I am there, in person, holding the camera and taking the photo. But when I take a photo through a surveillance camera, I’m still capturing it live but I’m not positioning the camera myself. So by screen printing, I turn it back into a physically embodied process, in which even a tiny shift of pressure can alter the colour balance. The second reason that screen-printing makes sense, is because it turns the low resolution pixelation of the images into a more tactile blurriness. I’m not interested in making a point out of the fact that I’m using surveillance imagery, I’m more interested in creating images that are intriguing, or at least that intrigue me. So by screen-printing, I’m able to separate the images from their original context, and open new doors for interpretation.
Q. What does it mean to you to have this solo exhibition and show your work at the ASC Gallery?
Sara: This will be my first solo show in the UK, which has been my home for almost three years, but it will also be the first time I’m showing this series of works. I had started to make these works while I was still a student at the Royal College of Art, but because I started in the last months of the MA, it was not what I showed in my degree show. After I finished, I no longer had access to the facilities that I needed to keep working. Having this opportunity has pushed me to continue working to produce a well rounded series, so I’m very grateful and happy about that.
About Sara Sahores
Sara Sahores (b. 1998, Buenos Aires, Argentina) is a visual artist and photographer based in London. She holds an MA in Photography from the Royal College of Art and previously studied Architecture and
Photography in Argentina. Working across different techniques and formats, her practice explores the material and spatial possibilities of the photographic image. Her work has been featured in two solo exhibitions in Buenos Aires (2024, 2025) and in numerous group presentations in London, Buenos Aires, Paris and Arles. Most recently, she participated in the latest edition of Photo London Fair with Maison Pan.
About Mora Pranteda
Mora Pranteda is an Argentine curator and art professional based in London. She holds a BA in Art History from the University of Buenos Aires (UBA) and completed a Master’s in Art Business at Sotheby’s
Institute of Art in 2023. Her experience spans collection management, curation, and exhibition coordination, with roles at institutions including the Museum of Latin American Art (MALBA) in Buenos Aires and Sadie Coles HQ in London. She has also contributed to exhibitions and events at the Victoria and Albert Museum, the Embassy of Argentina in London, and the National Museum of Buenos Aires (MNBA).
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