In_Situ: Continues

Sarah Woodward

Opening Wednesday 27 March 6-9pm

at the same time as the opening of the Dobell Prize for Drawing.

Open campus hours 

Art is a reflection of the world and it is vital to constantly re-evaluate our understanding of this place and our role in it.

Continues explores space. Both as an intermediary, transitional place leading to other places , but also a dead end, going nowhere. Which alludes to life, of passing through, and yet ending.


The work references the exterior, and surrounding area. Outside there is daylight and it is that light that shapes our understanding of what we see, that draws the forms with its light and shadows. All other light just imitates the sun. Who doth permit the base contagious clouds to smother up his beauty from the world?

The replication of shapes, fittings and furniture, the overlooked part of our everyday, as well as the light and shadows, echoes and examines our own hesitation in trusting our senses.


Continues is in part real and tangible, but flows into mimicry and shadows. Where does the truth stop and art begin? The questions it raises about believing what we see and our understanding of reality becomes a dialogue with the audience coming into the work, being a part of it, and being asked to contribute to it


Sarah Woodward is a conceptual artist living in Sydney. She takes a multi-disciplinary approach to create subtle, poetic works which examine place and our understanding of ourselves within our surroundings. Using a restrained approach she draws the viewer in to engage with the subject matter, this leads to a thought provoking and persuasive work. There is time and space to reflect on our own thoughts, beliefs and memories.



Continues, opening night


Peter Morgan


Between Two Memory Cards

Photographs that I lost or couldn’t take by Peter Morgan

“I will let you pass… but I’m going to make you delete that photo first”.

                        – Israeli soldier, Hebron, occupied Palestinian Territories.

October 15 – November 9 2018

Friday clashes -a
Peter Morgan  Friday Clashes

The photographic image has traditionally been utilitised as a record of an objective truth. Light passes through a lens and is trapped on a surface or sensor becoming an automated ‘memory’. However, after the time of capture, two memories of a photograph are created – split from the same moment. 

The ‘cold’ memory engrained in technology and the ‘warm’ memory – the photographers idea of the photograph. In most cases, these ‘cold’ memories outlast the ‘warm’, escaping the rigorous wear and tear time has upon human recollection. But sometimes technology fails. 

Between Two Memory Cards is a three part installation about photographic representation and memory from time spend as a photographer in the Middle East. Over the course of the past 8 years in the region, photographs have  occasionally been lost to missing hard drives, corrupted memory cards or prevention or deletion by security forces. 

The primary element of the installation is the drawn component. Over the course of the installation, lost images will be redrawn from the photographers memory of the image. Secondarily, ‘artefacts’ are on display (changed daily) which were once intrinsically tied to a single photograph or set of photographic moments. The third component is a suite of photographs taken in the town of Dupre in northern Iraq. 


For more information and captions – visit

Peter Morgan is a graduate of the National Art School in Sydney (BFA Hons) and current staff member. He has been a finalist in the Blake Prize, Art & About Festival’s Sydney Life and Australian Life Prizes as well as a recipient of the Storrier Onslow National Art School Paris Studio 

Residency at the Cite Internationale des Arts in 2012/13.

Peter’s photographic practice focuses upon geopolitics and humanitarian issues arising from the Middle East predominately the  conditions and aftermath of ‘regime made disaster’. This concept is applied to the creation and maintenance of an organised and well ordered system of low level violence by a democratic regime against a domestic or foreign peoples.





images by Peter Morgan

Lisa Jones

Spheroid monochrome

August 30 – September 13, 2018

Artist Talk Thursday September 6, 12.45-1.15pm NAS RED THEATRE


Lisa Jones Spheroid monochrome (paper, rubber rope, pencil, Glassroom)

Spheroid monochrome is part of Lisa’s Residual drawings, an on-going series of experimentations in creating three-dimensional drawings. Transitioning from two- to three-dimensions invests a sculptural approach to the work and thus becomes a response to space. Each drawing will have additional intervention from the artist during their Glassroom installation which will blur the boundaries of studio/exhibition space.

Sally Clarke

The remains of any day

The remains of any day is on show in the Glassroom from Monday 6 August until Tuesday 28 August 2018. The Glassroom is on the ground floor of National Art School Building 28 and open during its campus hours.


The remains of any day 2011 (floor vinyl, built location)

The stone house is a resilient, protective structure. The remains of any day (2011) forms its mortar remains, reflecting on the eventual fragility of even the most fortified and powerful structures. Everywhere, every day, the structures that govern and shape our lives, from those within the private domain of the home through to the hierarchies of regimes and empires, are both asserted and challenged.

Sally Clarke’s website

Amber Hearn

Crossing borders

Open 4-24 July – open for viewing from 4 July.

The auction is open for bidding from Tuesday 17 July till Tuesday 24 July and closes on the event night of Tuesday 24 July at 6.45pm in time for winning bids to collect their work.  More auction details coming soon.

See works and bid here:

Celebrate ‘Crossing Borders’ on Tuesday 24 July 5.30-7.30pm.

Work collection will also be available on Thursday 26 July 4-7pm.


‘Crossing borders’ is a fundraising exhibition of small works of art by established and emerging National Art School associated artists. Curated by Amber Hearn in collaboration with The National Art School in support of Refugee Advice and Casework Service (RACS), with 100% of profits being donated to RACS to continue their vital work, providing legal assistance to people seeking asylum in Australia. Each year Crossing Borders has raised approximately $10000 to go toward RACS.

‘Crossing Borders’ is an annual group fundraising exhibition project founded by Amber Hearn in 2014 whilst completing her Honours degree at The National Art School.

Amber was inspired to form the project as a way to create a platform to bring artists together with the wider community, using their skills to facilitate an accessible way for the public to contribute to a cause that she deeply believes needs supporting.

‘Crossing Borders’ showcases a range of work donated by National Art School associated Artists ranging from painting to ceramics and sculpture with 100% of the profits donated to RACS. RACS is a not-for-profit refugee legal service, providing expert advice and casework assistance to financially disadvantaged individuals seeking asylum both in the community and in immigration detention. Since the Federal Government’s funding cuts were introduced in April 2014 which erased 85% of their funding, RACS now relies more heavily on donations to continue its invaluable work. The future of RACS relies on the broad support of individuals and institutions. For further information about RACS please visit their website: Each year the Crossing Borders exhibition has raised approximately $10,000 for RACS.

This exhibition provides a platform for artists associated with National Art School to contribute to this national issue in a practical way by donating and making work for the exhibition. Crossing Borders has been an important part of the artist community, providing an opportunity for emerging and established artists to unite together for a greater cause.

For more details see

Facebook event

Facebook page


Charles Cooper

Entering a Roundabout

galvanised iron, paper- collage on repurposed polystyrene, mirrors, paper lines, space, 180cm x 180 cm x 40cm. 2018



Entering a Roundabout is the first project in Glassroom Projects. See more of Charles Cooper’s work here.


The Glassroom is the glassed-in space on the ground floor of Building 28 on the National Art School campus. It has been used to show student and staff works since it was constructed as part of the renovation of the building a few years ago. Glassroom Projects aims to formalise this use into a more focused program with different projects over the year, organised by Margaret Roberts.

Because the Glassroom is not a standard exhibition space, artists are encouraged to work site-specifically. Thus projects might engage with the Glassroom site via its physical space, its other formal qualities, its resemblance to a vitrine, its location under the chapel or at the centre of the campus, and so on. Site-specificity can be understood broadly – to include any of the later terms such as site-responsiveness and so on, and to accommodate arguments over the term since it began to be used in the 1970s. For example while some artists insist that the term be limited to artwork that cannot be moved (reflecting Richard Serra’s claim over Tilted Arc), this program proposes that movability of a site-specific work should depend on how it is engaging with the site, or what the site actually is. If it is the unique history, use or shape of the Glassroom itself, for example, then movability may make an artwork seem less site-specific. However if the site is the actual space we bodily occupy or the formal qualities found in many built places, or the whole planet even, then parts of that site may be found in many places, making movability more reasonable because the site is so big.