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 ON GADIGAL LAND

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Nell

Born Maitland, NSW

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'Every Mummy has a Mummy' (with Jack Tarlinton), 2014, wood, acrylic paint, enamel paint, ink, varnish, steel, paper, aluminium foil, oil paint, fabric, synthetic hair, clay, gesso, drumsticks, sunglasses, 200.5 x 31.0 x 64.5 (overall) with Nell wallpaper and Ghost Dress from ‘The Oracle’ - Spring/Summer 2011/12, collaboration with Romance Was Born (Installation at National Gallery of Victoria). Courtesy the artist and Roslyn Oxley9, Sydney and Station Gallery, Melbourne

'Every Mummy has a Mummy' (with Jack Tarlinton), 2014, wood, acrylic paint, enamel paint, ink, varnish, steel, paper, aluminium foil, oil paint, fabric, synthetic hair, clay, gesso, drumsticks, sunglasses, 200.5 x 31.0 x 64.5 (overall) with Nell wallpaper and Ghost Dress from ‘The Oracle’ - Spring/Summer 2011/12, collaboration with Romance Was Born (Installation at National Gallery of Victoria). Courtesy the artist and Roslyn Oxley9, Sydney and Station Gallery, Melbourne

About Nell

Nell’s practice traverses performance, sculpture, music, and painting. Small, intimate objects are just as probable as immersive installations. Her works embody an ongoing interest in contemporary manifestations of spiritual traditions, the inherent histories and magic of materials, the Karmic ghosts of existence, getting intimate with mortality and impermanence, what it means to be in a body, Rock ‘n’ Roll’s potential for transcendence and the power of words in any font!

'Made in the Light’, 2012, neon, 7 floors. Commissioned by Allens, Sydney. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Station Gallery, Melbourne.

'Made in the Light’, 2012, neon, 7 floors. Commissioned by Allens, Sydney. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Station Gallery, Melbourne.

'Chanting to Amps’ (still), 2012, performance at MONA FOMA Festival of Music and Art. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Station Gallery, Melbourne. Photo credit: Rémi Chauvin

'Chanting to Amps’ (still), 2012, performance at MONA FOMA Festival of Music and Art. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Station Gallery, Melbourne. Photo credit: Rémi Chauvin

'More Sound Hours Than Can Ever Be Repaid - The White Album, #2, 1968/2013' 2013, cardboard record sleeves, 251.5 × 253.5cm. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Station Gallery, Melbourne. Photo: Ivan Buljan

'More Sound Hours Than Can Ever Be Repaid - The White Album, #2, 1968/2013' 2013, cardboard record sleeves, 251.5 × 253.5cm. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Station Gallery, Melbourne. Photo: Ivan Buljan

'everyday happiness’, 2010, chrome plated bronze, 9 × 13 × 10cm, edition of 5 + 2 A/Ps. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Station Gallery, Melbourne. Photo: Adrian Cook

'everyday happiness’, 2010, chrome plated bronze, 9 × 13 × 10cm, edition of 5 + 2 A/Ps. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Station Gallery, Melbourne. Photo: Adrian Cook

'a white bird flies in the mist, a black bird flies in the night, a woman walks, wild and free, she is not afraid to die', 2008, installation view at Gertrude Contemporary, Melbourne, bronze, mother of pearl, resin, 33 individually hand-blown clear glass ghost sculptures. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Station Gallery, Melbourne. Photo: Mark Ashkanasy

'a white bird flies in the mist, a black bird flies in the night, a woman walks, wild and free, she is not afraid to die', 2008, installation view at Gertrude Contemporary, Melbourne, bronze, mother of pearl, resin, 33 individually hand-blown clear glass ghost sculptures. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Station Gallery, Melbourne. Photo: Mark Ashkanasy

'More Sound Hours Than Can Ever Be Repaid - Back in Black, #2, 1980/2013’, 2013, cardboard record sleeves, 219.5 × 220.4cm. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Station Gallery, Melbourne. Photo: Ivan Buljan

'More Sound Hours Than Can Ever Be Repaid - Back in Black, #2, 1980/2013’, 2013, cardboard record sleeves, 219.5 × 220.4cm. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Station Gallery, Melbourne. Photo: Ivan Buljan

'THE FIRSTBORN IS DEAD’, 2015, acrylic, pencil and mixed media on linen, 217 x 129cm. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Station Gallery, Melbourne. Photo: Jenni Carter

'THE FIRSTBORN IS DEAD’, 2015, acrylic, pencil and mixed media on linen, 217 x 129cm. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Station Gallery, Melbourne. Photo: Jenni Carter

'self-nature is subtle and mysterious - nun.sex.monk.rock’, 2010, glass reinforced plastic, silver leaf, varnish, nickel plated bronze. Nell size and stick size 2 parts (121 x 8 x 4 cm; 91 x 75 x 59 cm). Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Station Gallery, Melbourne. Photo: Adrian Cook

'self-nature is subtle and mysterious - nun.sex.monk.rock’, 2010, glass reinforced plastic, silver leaf, varnish, nickel plated bronze. Nell size and stick size 2 parts (121 x 8 x 4 cm; 91 x 75 x 59 cm). Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Station Gallery, Melbourne. Photo: Adrian Cook

  • 'Happy Ending’, 2006, installation view at Werribee Park, Victoria, noble black granite, 20 x 70 x 90cm. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Station Gallery, Melbourne.

  • 'Let There Be Robe’, 2011, installation view, MONA, Hobart, Zen robe, T-shirts, beads, badges, mannequin, socks, Converse All-Stars, guitar picks, paintbrushes, drumsticks, scissors, pencils, screwdrivers, chopsticks and more. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Station Gallery, Melbourne. Photo credit: Rémi Chauvin

  • '5 Days on Earth is 5 Days in Heaven’, 2014, 5 day performance at Heaven, Shangri-La, GLASTONBURY, Festival of Contemporary Performing Arts, UK. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Station Gallery, Melbourne. Photo: Charles Gervais

  • 'Every Mummy has a Mummy' (with Jack Tarlinton), 2014, wood, acrylic paint, enamel paint, ink, varnish, steel, paper, aluminium foil, oil paint, fabric, synthetic hair, clay, gesso, drumsticks, sunglasses, 200.5 x 31.0 x 64.5 (overall) with Nell wallpaper and Ghost Dress from ‘The Oracle’ - Spring/Summer 2011/12, collaboration with Romance Was Born (Installation at National Gallery of Victoria). Courtesy the artist and Roslyn Oxley9, Sydney and Station Gallery, Melbourne

  • 'QUIET/LOUD’ (still), 2012, with Bec Machine from BabyMachine, single‐channel digital video, 16:9, colour. Videography: Tina Havelock Stevens; Sound: Ingrid Rowell. Commissioned by Campbelltown Arts Centre. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Station Gallery, Melbourne. Photo: Zan Wimberley

  • 'everyday happiness’, 2010, chrome plated bronze, 9 × 13 × 10cm, edition of 5 + 2 A/Ps. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Station Gallery, Melbourne. Photo: Adrian Cook

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