Studies for Caryatids is a series of seven free-standing stained glass artworks created by Brian Clarke in 2002. Popularly known as the ‘Miami Beach Boys’, the works depict over-life-sized, semi-nude male figures based on photographs of models who posed for Clarke and the architect Zaha Hadid in Miami. The figures are rendered through Clarke’s original technique of ceramic-glaze printing on float glass with Ben Day dots, previously employed in the monumental commission for the Al-Faisaliah Center.

In her 2001 essay ‘Weissnichtwo: Brian Clarke and the Global Sublime’, Carol Jacobi writes:

"The seven similar-but-different beach boys brilliantly up-date Duchamp’s Nine Malic Moulds (1914–15), and his themes of modern, mechanised, commoditised love on endless, impotent repeat. Clarke’s multiplications of bodies, bathers and Ben-Day-style dots image a post-modern, screen-based desire for a digital age. The ‘caryatids’ evoke classical kouroi, Gothic saints, beauty pageant, boy band, frames of celluloid: their transposition of body/pillar image/sculpture condense being and artifice. They disturb expected distinctions between sacred/profane, figure/space, object/aperture. Power relations are also unsettled, the acquiescence signalled by the youth’s semi-nudity and animated, amiable gazes, are unnervingly contradicted by their superior size and stillness."

These works were first exhibited in 2002 at the Tony Shafrazi Gallery in New York in Transillumination, and for the first time in Europe at Christie's in 2011.