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sonia mangiapane

@soniamangiapane

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artist playing in and around the photographic
upcoming~
_feb 2027 @counihangallery
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CRITIC’S CHOICE | Art Collector Magazine Congratulations to both Danica Chappell and Sonia Mangiapane, selected as part of Art Collector Magazine’s Critic’s Choice from Sydney Contemporary. Among 24 works singled out from over 100 galleries across the fair, according to Art Collector, these are the ones worth going back for. Extra special congratulations to Danica, whose work also features on the cover. Visit us this weekend at Booth PS03 3-6 September Carriageworks, Sydney Request a catalogue of works through the link in our bio or by emailing hello@photoaccess.org. @danicachappell @soniamangiapane @artcollectormagazine @sydneycontemporary
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Sydney Contemporary is open ✨ Danica Chappell + the Estate of Enrico Taglietti (1926-2019) + Sonia Mangiapane. Visit us at Booth PS03 3-6 September Carriageworks, Sydney Request a catalogue of works through the link in our bio or by emailing hello@photoaccess.org.au @danicachappell #EnricoTaglietti @soniamangiapane
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photo access is pleased to be returning to Sydney Contemporary for Photo Sydney 2026, presenting the works of Danica Chappell, Sonia Mangiapane, and unseen photographs from the personal archive of renowned architect Enrico Taglietti (1926–2019). - Sonia Mangiapane is a photomedia artist working with processes defined primarily by their interaction with light, as opposed to the exclusive use of the camera. Employing a range of camera-based and cameraless methods her practice takes the form of photographic prints, cameraless or hybrid works on paper, moving image works and other light-based interventions. Themes such as the tourist gaze, Nature and the underlying constructions of the photographic are the focus of her work. Sonia’s approach is discursive, process-oriented and experimental. The colour darkroom, in particular, is a core site of her practice. It’s a space in which she makes, rather than takes a photograph; pushing the boundaries of the photographic by undertaking conceptual and technical approaches which diverge from the snapshot. - Request a preview catalogue via our website or by emailing hello@photoaccess.org.au Images: Sonia Mangiapane, Selfie Spot, 2023, c-type photograph with darkroom intervention, 115 x 96.7 cm framed Sonia Mangiapane, Swipe, 2021, c-type photograph with darkroom intervention, 97 x 82.8 cm framed Sonia Mangiapane, It’s all downhill from here, 2023, c-type photograph with darkroom intervention, 115 x 93 cm framed
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Photography takes centre stage at Sydney Contemporary with Photo Sydney, bringing together leading photographers, galleries and photographic practices from across Australia and beyond. From established names to emerging voices, explore works spanning fine art, portraiture, landscape, documentary and experimental photography, all available to see and collect at the Fair. See Photo Sydney at Sydney Contemporary, 3–6 September 2026 at Carriageworks. Pictured: Alexia Sinclair, The Aviary, 2025 Gary Heery, Madonna, 1983 Album Cover NYC.  Courtesy of the artist and Blender Gallery Caterina Pacialeo, Singularity, 2022 Christopher Ireland, Mountain Time, 2026 Cybele Malinowski, _DEEP FAKE: Tom Cruise, Applause, Los Angeles_, 2025  Kelly Conlin, Looking Through, 2025. Courtesy of the artist and Head On Photo Festival  Rex Dupain, In Time, 2026. Courtesy of Litsa Veldekis Luke Hardy, shadowings XIX, 2026 Mark Forbes, Garçon, 2021 Pamela Pauline, Terracotta Vase with Nest and Superb Fairywrens, 2025 Paul Blackmore, Jessie, 2026 Sonia Mangipane, Selfie Spot, 2023. Courtesy of the artist and Photo Access. Marnya Rothe, The Arrival, 2020 Carol Muller, Pink And Yellow Escalator Deji Plaza. Courtesy of the artist and Tiliqua Tiliqua Trent Mitchell, Australian Lustre #6.
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From ultramarine and cobalt to softer, washed-out hues, blue has held a shifting place in art history – associated with everything from rarity and divinity to distance, melancholy and the natural world. At Sydney Contemporary, artists continue to push the colour in different directions, across painting, photography, sculpture and more. Swipe through a selection of works in blue coming to the Fair from 3-6 September at Carriageworks. Pictured: Eugenie Kawabata, Botanica Exotica Strange Garden 7, 2026. Courtesy of Curatorial+Co. Jessica Murtagh, The delivery man only knocks once (sorry we missed you) (detail), 2025. Courtesy of Martin Browne Contemporary. Michael McHugh, Caelix, 2026. Courtesy of Martin Browne Contemporary. Celia Lees, Promises, 2026. Courtesy of Saint Cloche. Sonia Mangiapane, Selfie Spot, 2023. Courtesy of photo access. Mark Forbes, Royale with cheese (detail), 2020. Courtesy of the artist. Thomas Hartstang, Bouquet of flowers – riverscape, wide, 2025. Courtesy of Head On Photo Festival. Alfred Lowe, After-Party I, 2025. Courtesy of SABBIA. Grace Wright, Elevation Of The Ocean, 2026. Courtesy of Gow Langsford. Kate Ballis, Infrabotanica Papaver Rhoeas III, 2026. Courtesy of Gallerysmith.
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Colour Studies In 2016 kwam de verbouw van ons huis op de shortlist van de Hedy d'Ancona zorgarchitectuurprijs. De kleine kamer van Sverre, tussen grote ziekenhuizen en zorgcentra, werd gewaardeerd omdat er met weinig middelen en met weinig vierkante meter uitbreiding een zeer praktisch, inventief, maar ook mooie kamer voor Sverre was gemaakt. Sverre's ruimte was niet als losse kamer vastgeplakt aan bestaande ruimtes, maar voegde zich er midden tussen en zo maakte Sverre altijd deel uit van het dagelijkse leven. Sverre hoorde er altijd helemaal bij. Voor de publicatie van het boek waren betere foto's nodig dan ik met mijn telefoontje had gemaakt. Ik werd attent gemaakt op, de van oorsprong Australische, fotografe Sonia Mangiapane, die haar studio in Amsterdam had. In een paar prachtige beelden vatte ze de ruimte en de werking ervan samen en zag je de liefdevolle zorg terug. We leerden haar kennen en zij Sverre. We begrepen elkaar en waren naast haar professionele werk ook onder de indruk van haar vrije werk. Het duurde even voor de ruimte van Sverre na zijn overlijden weer opnieuw tot leven kwam. Herinneringen bleven hangen, maar er kwam ook langzaam ruimte voor nieuwe. Niet om de oude te verdringen maar te versmelten met elkaar. De slaapbank, waar ik nachten op wakker lag en vanuit mijn ooghoek Sverre en de rode cijfers op de monitor in de gaten kon houden, werd nu onderdeel van een mooie zitplek. Er worden boeken gelezen en geschreven. Er kwam een bijzettafel waarin de overgebleven tuimelpoppen hun huis vonden, maar er ontbrak nog iets, iets aan de wand. De wand waar de sporen van het hoog-laag bed zichtbaar bleven en waar de zilverkleurige heliumballon vlak na het overlijden van Sverre zorgde voor dansend licht boven hem. Met Colour Studies wilde Sonia onderzoeken hoe kleur, abstractie en andere niet-traditionele ingrepen onze reactie op een beeld kunnen vormgeven en uitdagen. De lichtexperimenten pasten volledig bij onze kleurrijke Sverre en Imre en we stelden een schilderij samen met twintig beelden ........en twee lege plekken. Dank lieve Sonia voor je waardevolle werk.
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Associated with landscape, ecology, growth and renewal, green offers artists a rich visual and symbolic language. Swipe through a selection of green-hued works by artists showing at Sydney Contemporary from 3–6 September, Carrigeworks. Pictured: Eleanor Louise Butt, The Garden’s Embrace, 2025. Courtesy of COMA. Michael McHugh, Caelix, 2026. Courtesy of Martin Browne Contemporary. Sonia Mangiapane, It’s all downhill from here (details), 2023. Courtesy of photo access. Ochre Lawson, Fallen White Gums (detail), 2026. Courtesy of Jennings Kerr. Justin Trendall, Untitled (detail), 2026. Courtesy of Void Melbourne. Alfred Lowe, After-Party III, 2025. Courtesy of SABBIA. Stephen Benwell, Groves II, 2025. Courtesy of LON Gallery. Ildiko Kovacs, Water Poetry (detail), 2026. Courtesy of Hugo Michell Gallery. Saffron Newey, Diana and the Nostalgic Horse (detail), 2026. Courtesy of Curatorial and Co. Mark Drew, ‘The Trade (Q-Tip_ATCQ)’, 2023. Courtesy of China Heights.
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Previously unseen photographs by celebrated architect Enrico Taglietti will be presented at Sydney Contemporary this September by photo access. Taken during the 1960s and 1970s and printed from Taglietti's original negatives, the photographs are shown alongside works by Danica Chappell and Sonia Mangiapane, bringing together three artists whose practices are united by an interest in light, material and the photographic process. See photo access at Photo Sydney, part of Sydney Contemporary, 3–6 September at Carriageworks. Tickets are on sale now, with savings of up to 20% when you book online via the link in our bio. Pictured: Sonia Mangiapane, It’s All Downhill From Here, 2023 Sonia Mangiapane, Selfie Spot, 2023 Enrico Taglietti, AC Smith House, 1969 Enrico Taglietti, Centre Cinema, 1964 Enrico Taglietti, Australian War Memorial Annex, 1977 Danica Chappell, Light Modulated Form 5, 2025 Danica Chappell, Light Modulated Form 6, 2025
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ARTIST TALK: Sonia Mangiapane 📌 This Saturday 11 April, 1pm at photo access Sonia Mangiapane is a photomedia artist working with processes defined primarily by their interaction with light, as opposed to the exclusive use of the camera. Employing a range of camera-based and cameraless methods her practice takes the form of photographic prints, cameraless or hybrid works on paper, moving image works and other light-based interventions. Themes such as the tourist gaze, Nature and the underlying constructions of the photographic are the focus of her work. The colour darkroom is a core site of her practice. It’s a space in which she makes, rather than takes a photograph; pushing the boundaries of the photographic by undertaking conceptual and technical approaches which diverge from the snapshot. Sonia was born and raised on unceded Bunurong country, lived in the Netherlands from 2012-2024 and is currently based in Naarm/Melbourne. Images: Installation views of ‘Ambient, Aberrant (homecoming edition)’ by Sonia Mangiapane at photo access.
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EXHIBITION Ambient, Aberrant (homecoming edition) Sonia Mangiapane "From the perspective of leisure tourism, Sonia examines the lenses that mediate our experiences of place, specifically Nature. Through abstract photography and cameraless techniques, her work expresses both awe for Nature and a sense of estrangement. The absurdity of ‘visiting’ or ‘sight-seeing’ the eco-systems which we, as animals, are a part of, is evoked in tandem with, and in dissonance with, the satisfaction of witnessing such ‘wild’ beauty. With the idea of ‘wilderness’ still vital to many of us, we find ourselves called to Nature, but 'Ambient, Aberrant' asks us to question the authenticity of our experiences of the so-called natural world." - Melanie Skyers @melanieskyers 📌ARTIST TALK 🕚 1pm, Saturday 11 April 📍 photo access Images: 'Ambient, Aberrant (homecoming edition)' by Sonia Mangiapane, 2026.
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Thank you for joining us last night to celebrate the opening of 'Inside the Empty Interval' by Lisa Stonham, 'Narcotics, Preservatives, Skeptics' by Corey Black, and 'Ambient, Aberrant (homecoming edition)' by Sonia Mangiapane. These exhibitions were formally opened by Dr Kate Warren, Senior Lecturer at the ANU Centre for Art History & Art Theory @anuartdesign, and continue until 11 April. @lisa_stonham @corey_max_black @soniamangiapane TOMORROW ✨ Artist talks with Lisa Stonham & Corey Black 🕚 Saturday 7 March from 11am 📍 photo access Join us in the gallery to learn about two of these exhibitions from the artists themselves: Corey Black will be in conversation with writer Alanna Frances O’Riley @alannaoriley, followed by a floor talk from Lisa Stonham. As always, a huge thank you to Lerida Estate @lerida_wine and Hawkes Brewing Co. @hawkesbrewingco for supporting our events. Installation images: 1. 'Inside the Empty Interval' by Lisa Stonham; 2. 'Narcotics, Preservatives, Skeptics' by Corey Black; 3. 'Ambient, Aberrant (homecoming edition)' by Sonia Mangiapane.
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EXHIBITION OPENING   Ambient, Aberrant (homecoming edition) Sonia Mangiapane   6pm Thursday 5 March at photo access   'Ambient, Aberrant (homecoming edition)' is an ongoing body of work that explores the ways we mediate out experiences of the Natural world, particularly through the lens of leisure tourism. Handprinted in the colour darkroom, the work seeks to raise questions around the artifice of sightseeing, chasing the sublime, our relationship to Nature (or what we think it is). It sets out from the premise that the photographic gaze and the tourist gaze emerged at the same time (around 1840) and have been inextricably linked ever since.   By laying bare the constructed nature of photography, the exhibition aims to call into question the authenticity of the image, of Nature, of any mediated experience. Mangiapane invites viewers to recognise that our interactions with the world around us are always mediated—whether through the lens of a camera or a culturally constructed idea.   Image: Sonia Mangiapane, 'Sliver', 2021, C-print (photograph with darkroom intervention)
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