NAS Retake: Karla Dickens

NAS Retake: Karla Dickens

2020-05-24

Karla Dickens is an artist of Wiradjuri, Irish and German heritage, whose work challenges notions associated with gender, inequality, race and violence against Aboriginal women. Her work courageously tackles confronting issues and enables conversations about Aboriginal disadvantage that continues to exist in contemporary Australian society. She incorporates her own text and poetry to emphasise the message and support her artwork. In 2018 Dickens made a body of work that referenced ‘the lucky country”, a phrase coined by Donald Horne in 1964. Dickens stated ‘I was grateful and relieved to find that Donald Horne was ironically condemning Australia for its complacency and failure to acknowledge its history. My playful and straight-forward observation is that you are lucky in Australia if you are white and a bastard if you are Aboriginal.’ (Dickens, 2018)

Unlucky II and Unlucky IV are assemblages on board made from rusty oil and petrol cans that Dickens found whilst rummaging in a dump near a closed Aboriginal mission-camp. Renowned for her practice of repurposing everyday items, she has placed these objects together with text; the oil cans remind us of the conflicts between white colonisers who seized Aboriginal land and exploited it, impervious to the systematic abuse and oppression of traditional owners. Dickens uses the words ‘Unlucky’ and ‘OUT’ (of luck) in relation to the people who never enjoyed the benefits of the so-called ‘lucky country’. However ironic Horne was being with his terminology, he probably was not thinking about Australia’s first people; but if he had been, he would have agreed that they were indeed out of luck.

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Keep your eyes peeled on our page as we feature new works and artists straight from the NAS Archive and Collection. Follow the hashtag on Instagram to stay up-to-date with our latest posts.

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Images: Karla Dickens, Unlucky II and Unlucky IV, 2017, mixed media, 110 cm x 110 cm, National Art School Collection, gift of Karla Dickens, 2018

The National Art School is excited to present the next wave of Australia’s artistic talent at Sydney Contemporary 2025.

Located at Booth J12, we will be showcasing the work of nine emerging artists who have recently graduated from either our Master of Fine Art Program or our Bachelor of Fine Art Program. Highlighting the breadth and diversity of the National Art School’s program—renowned for its studio-based learning and practice-driven teaching—the NAS booth will feature outstanding work by emerging artists, including Jake Bartley @_trizm__, Christian Bonett @christian_bonett_art, Harrison Chao @w4r.h4mm3r, Lewis Doherty @lewisstepsandrew, Isabella Kennedy @isa.kennedy, Rachel Mackay @rachelmackay.art, Megan McKenzie @megan_mckenzie_, Johanna Ng @johanna__ng, and Taylor Steel @taylor__steel.

Learn more about our artists at the link in bio.

11 – 14 September, Carriageworks. We look forward to seeing you there!
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Jake Bartley, ‘Im at the Root of All Evil’, 2025, oil on canvas, 195 x 157.5 cm; Christian Bonett, ‘The G(A)Y team van’, 2024, glazed earthenware, 48 x 23 x 20 cm; Harison Chao, ‘Spectacular Optical’, 2024, oil on canvas, 110 x 95 cm; Lewis Doherty, ‘Carriage/Study for a Pattern’, 2025, bronze, casting remnants. 30 x 23.1 x 17 cm, unique; Isabella Kennedy, ‘swaddle/shroud’, 2024, inkjet print on Epson matte, 44 x 29.5 cm, edition of 3; Rachel Mackay, ‘Chimera 7’, 2025, oil on canvas, 91.4 x 61 cm; Megan McKenzie, ‘Float’, 2024, raku, stoneware and textured glazes, 70 x 30 x 30 cm (ceramics pieces only, height for suspension is variable); Johanna Ng, ‘a man holding a camera walks with a woman in front of an advertisement for carte bradesco’, 2024, from the series ‘Every Asian in Sex and the City’, inkjet print on clear film, inkjet print on cotton rag, 80.5 x 59.4 cm; Taylor Steel, ‘gathering dust’, 2024, polycarbonate, epoxy resin, toner, acetate, enamel, aluminium composite panel and stainless steel, aluminium frame, 31 x 25.5 cm; all images courtesy and © the artists

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Aug 30

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The National Art School is excited to present the next wave of Australia’s artistic talent at Sydney Contemporary 2025.

Located at Booth J12, we will be showcasing the work of nine emerging artists who have recently graduated from either our Master of Fine Art Program or our Bachelor of Fine Art Program. Highlighting the breadth and diversity of the National Art School’s program—renowned for its studio-based learning and practice-driven teaching—the NAS booth will feature outstanding work by emerging artists, including Jake Bartley @_trizm__, Christian Bonett @christian_bonett_art, Harrison Chao @w4r.h4mm3r, Lewis Doherty @lewisstepsandrew, Isabella Kennedy @isa.kennedy, Rachel Mackay @rachelmackay.art, Megan McKenzie @megan_mckenzie_, Johanna Ng @johanna__ng, and Taylor Steel @taylor__steel.

Learn more about our artists at the link in bio.

11 – 14 September, Carriageworks. We look forward to seeing you there!
—
Jake Bartley, ‘Im at the Root of All Evil’, 2025, oil on canvas, 195 x 157.5 cm; Christian Bonett, ‘The G(A)Y team van’, 2024, glazed earthenware, 48 x 23 x 20 cm; Harison Chao, ‘Spectacular Optical’, 2024, oil on canvas, 110 x 95 cm; Lewis Doherty, ‘Carriage/Study for a Pattern’, 2025, bronze, casting remnants. 30 x 23.1 x 17 cm, unique; Isabella Kennedy, ‘swaddle/shroud’, 2024, inkjet print on Epson matte, 44 x 29.5 cm, edition of 3; Rachel Mackay, ‘Chimera 7’, 2025, oil on canvas, 91.4 x 61 cm; Megan McKenzie, ‘Float’, 2024, raku, stoneware and textured glazes, 70 x 30 x 30 cm (ceramics pieces only, height for suspension is variable); Johanna Ng, ‘a man holding a camera walks with a woman in front of an advertisement for carte bradesco’, 2024, from the series ‘Every Asian in Sex and the City’, inkjet print on clear film, inkjet print on cotton rag, 80.5 x 59.4 cm; Taylor Steel, ‘gathering dust’, 2024, polycarbonate, epoxy resin, toner, acetate, enamel, aluminium composite panel and stainless steel, aluminium frame, 31 x 25.5 cm; all images courtesy and © the artists

The National Art School was sad to hear that artist Robert Eadie died on the 22nd August at the age of 84.

He had been a practicing artist since he graduated from the National Art School in 1966, working across multiple mediums, including painting, drawing, sculpture and printmaking. He had a profound influence on his fellow students, including his friend of 60 years, Bill Brown, and they both taught together later at NAS. Bill remembers that ‘he was an inspiring teacher, who never taught ideals; in form, in concepts or outcomes. Instead, he showed students how to make sense of themselves, for the betterment of themselves.’

The National Art School sends our condolences to Rob’s family and many friends, and acknowledges his great contribution to the School.

Read the full Vale at nas.edu.au.
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Robert Eadie, c. 1978; Robert Eadie, `Figure on the beach`, 1966, oil on canvas on board, 53 x 54.5cm, National Art School Collection

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Aug 29

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The National Art School was sad to hear that artist Robert Eadie died on the 22nd August at the age of 84.

He had been a practicing artist since he graduated from the National Art School in 1966, working across multiple mediums, including painting, drawing, sculpture and printmaking. He had a profound influence on his fellow students, including his friend of 60 years, Bill Brown, and they both taught together later at NAS. Bill remembers that ‘he was an inspiring teacher, who never taught ideals; in form, in concepts or outcomes. Instead, he showed students how to make sense of themselves, for the betterment of themselves.’

The National Art School sends our condolences to Rob’s family and many friends, and acknowledges his great contribution to the School.

Read the full Vale at nas.edu.au.
—
Robert Eadie, c. 1978; Robert Eadie, 'Figure on the beach', 1966, oil on canvas on board, 53 x 54.5cm, National Art School Collection

`A landmark exhibition exploring the connections between First Nations and Asian Australian histories through contemporary art...Both poetic and political, The Neighbour at the Gate demonstrates how art can act as a gateway for healing, connection, and truth-telling amid contested notions of belonging.` - Vault Magazine

Celebrating one month of The Neighbour at the Gate at NAS Gallery, on with extended opening hours until 18 October 2025. Monday to Sunday, 11am – 5pm, free admission. Plan your visit at the link in bio.
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Installation view, The Neighbour at the Gate, National Art School Gallery, Sydney, 2025, image courtesy and © the artists, photograph: Peter Morgan

The Neighbour at the Gate has been made possible with the generous support of the NSW Government through its Blockbusters Funding initiative.

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Aug 26

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'A landmark exhibition exploring the connections between First Nations and Asian Australian histories through contemporary art...Both poetic and political, The Neighbour at the Gate demonstrates how art can act as a gateway for healing, connection, and truth-telling amid contested notions of belonging.' - Vault Magazine

Celebrating one month of The Neighbour at the Gate at NAS Gallery, on with extended opening hours until 18 October 2025. Monday to Sunday, 11am – 5pm, free admission. Plan your visit at the link in bio.
—
Installation view, The Neighbour at the Gate, National Art School Gallery, Sydney, 2025, image courtesy and © the artists, photograph: Peter Morgan

The Neighbour at the Gate has been made possible with the generous support of the NSW Government through its Blockbusters Funding initiative.

Congratulations to NAS alumni/staff Jane Burton, Gerwyn Davies, Ella Dreyfus, Izabela Pluta, Ali Tayahori, Justine Varga, and Kai Wasikowski, finalists of the Bowness Photography Prize 2025.

This year is the 20th anniversary of the Prize. Visit @maph_photography before 9 November to view the artworks in person.

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1) Jane Burton, ‘Snakes and ladders’, 2024, pigment ink-jet print, 42 x 33 cm, collection of the artist, courtesy of the artist and Bett Gallery (Hobart)

2) Gerwyn Davies, ‘Trick mirror’, 2024, pigment ink-jet print, 120 x 100 cm, collection of the artist, courtesy of the artist, Jan Murphy Gallery (Brisbane) and Michael Reid Galleries (Sydney + Berlin)

3) Ella Dreyfus, ‘Liminal body’, 2025, chromogenic print, 150 x 100 cm, collection of the artist, courtesy of the artist

4) Izabela Pluta, ‘Coral study / Seepage (mirage)’, 2025, from the series Undulations, gelatin silver prints, 36 x 31.5 cm (each), collection of the artist, courtesy of the artist and Gallery Sally Dan Cuthbert (Sydney)

5) Ali Tayahori, ‘Sisterhood (Broken)’, 2025, from the series Archive of longing, UV print on glass, hand-cut glass, silicone on aluminium, 62 x 62 x 4 cm, collection of the artist, courtesy of the artist and THIS IS NO FANTASY (Melbourne)

6) Justine Varga, ‘Time immemorial (126,749 years)’, 2024–2025, chromogenic print, 190 x 76 cm, collection of the artist, courtesy of the artist, Tolarno Galleries (Melbourne) and Hugo Michell Gallery (Adelaide)

7) Kai Wasikowski, ‘The bees and the ledger: N.B (scenes 1–27)’, 2024, from the series The bees and the ledger, ink-jet prints, 38 x 38 cm, collection of the artist, courtesy of the artist

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Aug 25

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Congratulations to NAS alumni/staff Jane Burton, Gerwyn Davies, Ella Dreyfus, Izabela Pluta, Ali Tayahori, Justine Varga, and Kai Wasikowski, finalists of the Bowness Photography Prize 2025.

This year is the 20th anniversary of the Prize. Visit @maph_photography before 9 November to view the artworks in person.

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1) Jane Burton, ‘Snakes and ladders’, 2024, pigment ink-jet print, 42 x 33 cm, collection of the artist, courtesy of the artist and Bett Gallery (Hobart)

2) Gerwyn Davies, ‘Trick mirror’, 2024, pigment ink-jet print, 120 x 100 cm, collection of the artist, courtesy of the artist, Jan Murphy Gallery (Brisbane) and Michael Reid Galleries (Sydney + Berlin)

3) Ella Dreyfus, ‘Liminal body’, 2025, chromogenic print, 150 x 100 cm, collection of the artist, courtesy of the artist

4) Izabela Pluta, ‘Coral study / Seepage (mirage)’, 2025, from the series Undulations, gelatin silver prints, 36 x 31.5 cm (each), collection of the artist, courtesy of the artist and Gallery Sally Dan Cuthbert (Sydney)

5) Ali Tayahori, ‘Sisterhood (Broken)’, 2025, from the series Archive of longing, UV print on glass, hand-cut glass, silicone on aluminium, 62 x 62 x 4 cm, collection of the artist, courtesy of the artist and THIS IS NO FANTASY (Melbourne)

6) Justine Varga, ‘Time immemorial (126,749 years)’, 2024–2025, chromogenic print, 190 x 76 cm, collection of the artist, courtesy of the artist, Tolarno Galleries (Melbourne) and Hugo Michell Gallery (Adelaide)

7) Kai Wasikowski, ‘The bees and the ledger: N.B (scenes 1–27)’, 2024, from the series The bees and the ledger, ink-jet prints, 38 x 38 cm, collection of the artist, courtesy of the artist

Congratulations Genevieve Felix Reynolds @genevievefelixreynolds, the 2026 recipient of the The British School at Rome Residency.

This residency offers the opportunity to live and work in Rome for 3 months, in an interdisciplinary research community. The British School at Rome is a centre of interdisciplinary research excellence in the Mediterranean supporting the full range of arts, humanities and social sciences, and the residency has been made possible through the generosity of our donors, particularly Jennifer Dowling. The British School at Rome is just north of Rome’s historic centre in the Valle Giulia which separates the Parioli district from the Borghese Gardens.

Applications for 2027 residencies will open early next year. Find more information about all of NAS` International Residencies on the NAS website.
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Genevieve Felix Reynolds, Godmode, 2025, polymer on velvet, 150 x 109cm

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Aug 24

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Congratulations Genevieve Felix Reynolds @genevievefelixreynolds, the 2026 recipient of the The British School at Rome Residency.

This residency offers the opportunity to live and work in Rome for 3 months, in an interdisciplinary research community. The British School at Rome is a centre of interdisciplinary research excellence in the Mediterranean supporting the full range of arts, humanities and social sciences, and the residency has been made possible through the generosity of our donors, particularly Jennifer Dowling. The British School at Rome is just north of Rome’s historic centre in the Valle Giulia which separates the Parioli district from the Borghese Gardens.

Applications for 2027 residencies will open early next year. Find more information about all of NAS' International Residencies on the NAS website.
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Genevieve Felix Reynolds, Godmode, 2025, polymer on velvet, 150 x 109cm

Announcing the 2026 recipients of the Onslow Storrier NAS Residency, a three-month studio residency at La Cité Internationale des Arts Paris, awarded to a National Art School Graduate or Academic Staff Member and made possible through the generosity of Annette Onslow and Tim Storrier.

January – March: Mungo Howard @mungo_howard
April – June: Ali Tahayori @alitahayori
July – September: Corey Black @corey_max_black
October – December: Chelsea Lehmann @chelseajlehmann

A residency at the Onslow Storrier National Art School Paris Studio presents each artist with the opportunity to evolve their practice in one of the great centres of artistic excellence. The studio is located on the Right Bank in Rue de L’Hôtel de Ville in the 4th arrondissement overlooking the river Seine, near many commercial and public galleries and only a short walk to Notre Dame Cathedral. There are 270 studios that house artists, musicians and writers from around the world.

Applications for 2027 residencies will open early next year. Find more information about all of NAS` International Residencies on the NAS website.
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Mungo Howard, Profile, 2025, found material and tacks in steel frame, 36 x 31 cm.
Ali Tahayori, Our house is on fire, 2023, video installation, six minor panels, hand-cut mirrors, plaster and wood, each panel 100 cm x 90 cm video component (4 minutes duration)
Corey Black, Malignant Recipe, 2025, digital print on lustre, laser cut and welded Perspex, 45 × 18 × 4.5 cm. Documentation: Jessica Maurer
Chelsea Lehmann, Field Remains, 2025, Oil and wax on linen, 97 × 107 cm

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Aug 23

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NAS Retake: Karla Dickens