SELECTED
#PROJECTDISCIPLINEYEAR
A1MIFF26
BRANDING, DIGITAL, MOTION, PRINT2026

A2MIFF25
BRANDING, DIGITAL, MOTION, PRINT2025

A3MIFF24
BRANDING, DIGITAL, MOTION, PRINT2024

A4PRIMARY MOTION MOTION2023
A57-ELEVEN SMOOTHIE SCREENSDIGITAL, MOTION, ILLUSTRATION2022
A6SAMSUNG STORYTELLING WITH DATABRANDING, DIGITAL2022
A7MELBOURNE HOLOCAUST MUSEUM BRANDING, PRINT 2022
A8BOOK RUNNER BRANDING, DIGITAL, ILLUSTRATION2021
A9MAUD x MECCAILLUSTRATION2021
A10LUXE FLORARTBRANDING2021
A11BARBARA KRUGERPRINT2019
A12CLOUD SERVICEBRANDING, EXHIBITION DESIGN, PRINT2019


PUBLICATIONS

#PROJECTARTISTYEAR
B1NOBODY KNOWS I’M GAYC.MOORE HARDY2026

B2TEN EIGHTYMATT DUNNE2026
B320,000 RETURN PHOEBE KELLY2024
B4DEATH OF AN IDEAPETER MILNE2023
B5WHAT ARE YOU LOOKING FOR?LUKE LE2021
B6THE ROYAL TOUR VINCENT NAMATJIRA2020
B7FIGURES OF SLIPPAGE AND OSCILLATIONIZABELA PLUTA2020
B8JUVENILIAPETER MILNE2020
B9COO-EE!CLAUDIA VAN EEDEN2019
B10END STREETNOEL MCKENNA2019
B11PELCI MANORSARAH WALKER2019


PRESS

#PROJECTARTICLEYEAR
1
WHAT ARE YOU LOOKING FOR?
NOWHERE DIARY
2023

22022
32022
42022
52022
62021
72021

AWARDS

#PROJECTAWARDYEAR
12024
22023
32023
42023
52021

EDUCATION

#DEGREEGRADEYEAR
1
RMIT UNIVERSITY – BACHELOR OF MEDIA AND COMMUNICATION (HONOURS)
HONOURS FIRST CLASS
2017

2
RMIT UNIVERSITY – BACHELOR OF DESIGN (COMMUNICATION DESIGN)
DISTINCTION
2014–2016


© 2026 Sasha Taylor

I respectfully acknowledge the Wurundjeri People of the Kulin Nation as the Traditional Owners of the land on which I live and work, and I acknowledge that this land is unceded. I pay my respects to Elders past and present.

B5
  • What are you looking for?


What are you looking for? is an exercise in simplicity: no front or back matter, tight margins and an A2 folded poster (offset with single spot) as the cover. It was shortlisted for the Paris Photo—Aperture Foundation 2021 PhotoBook Awards in the First PhotoBook category.
        ‘A kind of open letter to a former life in Melbourne, the book forms both an intensely personal gesture and a wider provocation toward the subjectivities and assumptions that underpin photography itself. These raw, intuitive images – created from scans of degraded Risograph prints – are at once rooted in and free of place.’ (Perimeter Books 2021)