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.

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Aftermath (Busted Altar)

NFS

Concrete, acrylic paint, cone, assorted fabric, paper, nail polish, stockings, pallet, rulers, pens, glue, plywood, steel frame, caulking gun, plaster casts, plastic containers, plastic bags, foam, ribbon, glass jars, spray paint, period pain medicine, sandpaper, bikini, fabric bags, packaging, trophies, beads, ciggy papers, shells, tape, zip ties, gel medium transfers, orthodontic casts, paint tins, lighters, dollhouse furniture, ceramics, wall plugs, screws, nails, steel gate, fake flowers, lace, thread, rope, paintings, electrical cords, drawings, frames, tables, bungee cords, wrench, hammer, fake grass, LED lights, fur, mesh, marble, fake skeleton, acrylic, plastic chair, pipe cleaners, paint brushes, tiles, silicon, adhesive book coverings, CDs, overlocker, fake rocks, NAS billboards, NYC chain, Mentos, bottle caps, plastic folders, shoes, key chains, light fixture, lino, elastic, assorted found and fabricated objects.

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.