The National Art School acknowledges the Gadigal people of the Eora nation, the traditional owners on whose lands, water and skies we meet and share.

Fluro Bra Poking Out the Top

NFS

Fabric, canvas, spray paint, staples, gel medium transfers on plywood, oil pastel, belt, plastic, paper, acrylic paint, velvet, assorted pieces of wood, fake wood lino tile, textas, fake grass, rocks, soap stone rubble, sand, plaster casts of shells, broken fragments of plaster casts of plastic containers, construction netting, orthodontic moulds of teeth, string, packaging, fake ant, zip lock bag of glass found on the beach, snapped lip liner, eye shadow brush, sandpaper, sparkly fluff, acrylic nails, lace, fake flowers, semi-transparent iPad holders, glue, screws, tape, cardboard, shoe, bag, jewellery, frame, glitter, clothes, fishnet tights.

Dimensions

Dimensions variable

Sadie Whelan

Sadie Whelan

Sadie Whelan's practice has a playful, slippery, and contingent attitude that challenges formal aesthetic hierarchies. She is interested in things that are ad-hoc, off-kilter and deviant, and has a magpie thing going on for trashy, disheveled, and femme materiality. Her assemblages complicate superimposed object-history relationships by remixing the formal properties of materials with their colloquial/cultural associations. The fragmentary, disobedient, and gurlesque nature of her work speaks to hybrid identities, about unfixed and ungovernable bodies, and the impossible neat boxing up of things.