Sophie von Hellermann

Good Vibrations (2020)

Edition of 50
Hand-painted watercolours over 1 colour lithographic print on 300gsm white Somerset Velvet paper.
43 x 54 cm (16.9 x 21.3 inches)
Signed, numbered and dated by the artist

Specially commissioned for Counter’s #WithLoveFromMargate charity campaign

Sold Out - 100% of net proceeds to Our Kitchen

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Sophie Von Hellerman’s ‘Good Vibrations’ is a hand-pulled lithograph in an edition of 50 with each print hand coloured by the artist. The print depicts a celebratory social gathering on the beach at Margate, the home-town of the artist - and offers a reminder of good times passed and as well as hope for better times to come. Using watercolour with quick fluid strokes, Von Hellerman imparts a dreamy immediacy to the scene, with her signature loose style ensuring that each one of the prints is variable and unique.

We are proud to be supporting the amazing Our Kitchen charity. Founded in 2017 by the tireless and wonderful Sharon Goodyer, it brings together local food makers and food suppliers in imaginative, inclusive ways to bring healthy, convenient and affordable food to the local community. In the current crisis their work is even more important than ever with Our Kitchen currently supporting eight different food banks in the Thanet area. 100% net proceeds to Our Kitchen.

Specially commissioned for Counter’s #WithLoveFromMargate charity campaign.
Born in 1975 in Munich, Sophie von Hellermann lives and works in Margate. She was one of the first artists to settle in the town which has since become a thriving creative hub. She studied at the Kunstakademie Dusseldorf and the Royal College of Art, London. Her subject matter ranges from Emily Bronte’s Wuthering Heights to Einstein’s revolutionary physics to the life of Nico from The Velvet Underground. She portrays these subjects with the same token lightness, blurring public fable with romantic vision.

In von Hellermann’s works, personal narratives and fantasies are the product of desire and partial perceptions, bleeding into one another within a figuration characterised by ambiguous moments and abstract spaces. Empty spaces help make her works more evocative, giving them the power to absorb the gaze, and then to open the imaginary and the memory of sensation. The subjects of these works, which are essentially narrative, stand at the intersection of the personal and the collective history that nourishes her imaginary, although there is no clear-cut line separating the two. Swift execution and abundant output, a casual style, a constant mixing of the trivial and the grandiose – these are the methods she uses to transgress the rules of pictorial propriety.