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.

Slut on the Rocks

NFS

Gel medium transfers on plywood, acrylic paint, power cord, paper, tape, screws, plaster, staples, nails, glue, film slides, resin, confetti, perspex, a zip, spray paint, assorted pieces of wood, picture frames, crayon, glasses case, pins, foam, adhesive book covering, tape cassette, bobby pins, pipe, fake plant, plastic, flagging tape, shoes, balloon, lace, wine glass of studio dust, fake plait, sand, zip ties.

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.