Nuha Saad has exhibited extensively in both solo and group exhibitions and a number of these exhibitions are shown here.

Galerie pompom 2 – 27 October 2019

For Nuha Saad the mix of Sydney formalism, colonial architectural details, and the post-pop colours of a commodity driven culture is informed by multicultural discourse. The flavour of antipodean formalism is confronted in a direct way and democratised by the play of colour on object, and the repurposing of found materials. Saad inherited the high design principles of De-stijl and the Bauhaus, the logic of the Fibonacci series, but the decoration of the iconoclast has been turned in the service of community meeting points, parks and school yard playgrounds in a vast array of public works and sculptures … Saad alludes reflexively to a new era for the expression of post-colonial discourses by highlighting marginalised and overlooked spaces and objects which is positive, complete and optimistic. (Michele Beevors 2019).

Antipodean formalism and post-pop (pdf)
By Michele Beevors, Principal Lecturer, Dunedin School of Art Otago Polytechnic.


Nuha Saad was a finalist in the Tom Bass Sculpture Prize in 2020 and the Deakin University Small Sculpture Prize in both 2018 and 2019.

Nuha Saad and Michele Beevors
Articulate Projects 6 – 21 October 2018

The exhibition Then and Now addresses the shifts in working methodologies over many years of encounters between two artists, Michele Beevors and Nuha Saad who met while sharing a studio at art college.

Then and Now (pdf)
By Michele Beevors, Principal Lecturer, Dunedin School of Art Otago Polytechnic.

Artlink 09 Nov. 2018. Then and Now | Making : Memory
By Craig Judd

(Nuha) Saad employs the inescapable materiality of scale and proportion, the richly potent disjunction of hand-coloured architectural trim and flocked wallpaper in I Walk the Line III (1998–2018) as a riposte to Richard Serra’s Prop series (began 1969) and the masculinist bombast inherent in much of his work. The Colour of Dreams (2018) elegantly encapsulates how in the everyday we negotiate past and present, the handmade and machine-made, the demands of industrial-based standardised modes of living, and the continuing appeal of modernist ideals as represented by the miniature architectonic fantasy of pure colour and form. read more here

Galerie pompom 22 November – 16 December 2017

Artists: Kevin Chin; Will Cooke; Fernando do Campo; Stefan Dunlop; Neil Haddon; Irene Hanenbergh; Brent Harris; Matthew Harris; Daniel Hollier; Belem Lett; Ollie Lucas; Tara Marynowsky; Nuha Saad; Kate Tucker; Megan Walch; Tricky Walsh and Ian Williams.
Curator: George Adams

The persistence of painting (pdf)
By Melissa Loughnan Founding director of Utopian Slumps and author of Australiana to Zeitgeist: An A to Z of Australian Contemporary Art.

Altmedia 28 Nov. 2017. 1717 Painting/not painting
By Rita Bratovich.

Flinders Street Gallery 12 July 12 – 4 August 2018

Artists: Grace Burzese, Sophie Clague, Michael McIntyre, Ali Noble and Nuha Saad
Curator: Ali Noble

Exploring word associations to fabrication can quickly lead you to jazz. The constructions and assemblages in FABSTRACTION are characterised by an improvisational sensibility and offbeat rhythm, the artists’ knowledge of materials merge with inventive studio experimentation resulting in energetic and idiosyncratic works. Grace Burzese, Sophie Clague, Michael McIntyre, Ali Noble and Nuha Saad share their personal dialogues with painting, steel, paper, fabric and wood, demonstrating that the possibilities of abstraction remain an open ended and dynamic conversation. (Ali Noble 2018)

Grace Cossington Smith Gallery 26 July – 16 August 2017

Artists: Tania Alexander, Victoria Lobregat and Nuha Saad
Exhibition Co-ordinated by Lisa Jones

A house contains and surrounds us. It provides both a physical space and a cultural space where we develop personal and social rituals and relationships. Tania Alexander, Victoria Lobregat and Nuha Saad explore the psychological complexities of our house through their interactions with colour, pattern and form.

The exhibition was opened by Annalisa Capurro ‘Ms Modernism’ – Annalisa Capurro Interior Designer | Design Educator| Architectural & Design Historian| Architectural Photographer | Writer

Our House (pdf)

Articulate Project Space 19 November – 3 December 2016

Artists: Kath Fries, Fiona Kemp, Danica Knezevic and Nuha Saad

STABLE connotes many things including mental, physical, environmental, elemental stability and instability; a shelter for horses; or a bringing together – as in a stable of artists. These ideas are explored in STABLE, a group exhibition by Nuha Saad, Kath Fries, Danica Knezevic and Fiona Kemp who all share mutual interests in exploring both the conceptual and material qualities of their practices, working with site-responsive, experimental and embodied processes. Together the four artists generate new interpretative connections to critique the themes of stability and stables within Articulate Project Space. Their scope is broad, Nuha Saad works with abstracted ornamental objects, Kath Fries with ephemeral forms, Danica Knezevic with durational performance, and Fiona Kemp works conceptually within her multidisciplinary practice. Materiality is a central concern in STABLE, as these artists playfully and thoughtfully push the limits of their practices.

Stable (pdf)

This artwork was also exhibited as part of the Paramor Art + Innovation Prize. Originally launched in 2015 in memory of Wendy Paramor, one of Australia’s most loved and celebrated contemporary female artists, the prize aims to honour innovative and forward-thinking artistic practices.

24 September 2016 – 28 January 2017

Nuha Saad was thrilled to be a finalist in the Meroogal Women’s Art Prize 2016. Meroogal is one of Sydney Living Museums’ 12 historic houses and museums. Once home to the Thorburn and MacGregor families, the property still overflows with their belongings, from favourite books and ornaments to furniture, photographs, diaries and journals. The Meroogal Women’s Art Prize invites artists to create works that respond to Meroogal house and its history and collection of treasures, throwing new light on the personal stories of the four generations of women who lived there.

The Flock Fall artworks are sympathetic to the physical features of Meroogal, particularly its architectural trim and patterned wallpapers. Made from white ‘flocked’ wallpaper, the three circular pieces also recall the embroidery the women of Meroogal created and the colours within the artwork evoke the physical environment the women lived and worked within; the pastures, gardens and vast country skies. Through the artwork a type of alliance is formed that restates the women’s presence, life and work.


Nuha Saad + Ali Noble
Airspace Projects 4 – 19 September 2015

The original intent of our collaboration began as a mutual tension within our practices between ornament and minimalism, or ‘Ornaminimalism’. Ornaminimalism occurs when ‘the result is neither pure ornament or purely minimal… the work is without frills and with frills’. We aimed for reductive abundance and discovered decorative reduction. Certainly not Rococco and definitely not Minimalism. (Ali Noble 2015)

Gliiter is Going Under! (pdf)
By Ali Noble

Grace Cossington Smith Gallery 1 November – 6 December 2014

Artists: Julia Davis, Lisa Jones, Stephen Little, Tom Loveday, Jonny Niesche, Nuha Saad, Nike Savvas and Mark Titmarsh
Curator: Nicholas Tsoutas

reSATURATEryb, a group exhibition exploring the relationship between coloured objects and coloured spaces. reSATURATEryb complements and builds upon Saturate, a spatial colour installation held at Sydney College of the Arts in 2012. This time the curator, Nicholas Tsoutas, has selected the three main exhibition spaces in the gallery to each correspond to the Modernist or Bauhaus division of colour into primaries: red, yellow and blue. The artists’ works was exhibited saturated with Bauhausian primary colours. As Tsoutas states: The colours of the artworks are changed to reveal new aesthetic, historical, political and social meanings. Rather than a simply a technical aspect of art, colour is revealed as an active critical device in the production and reception of contemporary art. reSATURATEryb, claims a spatial impact for saturated colour, freeing the colour from the surfaces of the room and allowing it to be in the space and not simply on the surfaces that define the space.

reSATURATEryb (pdf)
By Nicholas Tsoutas

James Dorahy Project Space Sydney 6 September – 2 October 2011

Nuha Saad’s new exhibition continues her playful investigations into colour and form. Saad works in between assemblage, painting and sculpture, combining ready‐made objects and colour in inventive configurations. Saad is drawn to objects with only half‐formed associations, not quite hand‐made, not quite mass manufactured, simultaneously open and resistant to manipulation…Saad singles out these elements that despite their ornamental intent are often overlooked, absorbed into the architecture and rarely distinguished by colour. Through cutting, arrangement and colour, the dormant beauty and sensuality of a turned timber finial or a moulded cornice come to life. And so do their buried narratives. (Dr Jacqueline Millner).

The Necessity of Ornament (pdf)
By Dr Jacqueline Millner, Associate Prof. La Trobe University, Melbourne.


The (sydney) magazine – issue no. 101 / September 2011, Pick of the Month (Art)
By Michael Fitzgerald, Editor Art Monthly

There is a shy beauty with the work of Nuha Saad that melts before our eyes. At first we are lured by the pastel patterns her jigsaw puzzle-like sculptures make. Then we notice the individual pieces are old architectural remnants, such as dowels, finials and mouldings, and an emotional trip switch is triggered – evoked in such works as Velvet Nostalgia (2010), and Spill II (2011) – which gradually brings these wonderfully introverted sculptures out of their shells.

In Velvet Nostalgia (2010), Nuha Saad has created a poignant work through the striking contrast of sinuous, pastel balusters and a bright column of button‐like forms. The contrast creates what could be a dialogue between the almost‐there, diaphanous nature of memory, and the concrete insouciance of childhood. While here the architectural elements take on a figurative quality, the formal questions of the relationship between colour, form and narrative are still centre stage. (Dr Jacqueline Millner, Associate Prof. La Trobe University, Melbourne).

James Dorahy Project Space Sydney 29 September – 18 October 2009

Concrete Playground Nuha Saad: Imagined Constellations
By Genevieve O’Callaghan

In sharp contrast to the ever-growing presence and dimensions of warehouse-cum-gallery spaces, there is the James Dorahy Project Space. Perched above Macleay Street in Potts Point, it’s a refreshingly intimate and domestic feeling space. The attraction lies not only the New York apartment feel of the gallery, but in the represented artists and this week, JDPS presents Nuha Saad: Imagined Constellations. Saad is interested in form and colour, order and repetition. Continually interrogating domestic space, the Sydney-based artist’s past work has incorporated the finer details of the home, like cornices and skirting boards, commenting on the trimmings we add to the necessities. Imagined Constellations features a series of wooden blocks, some painted, some not. The poetry is in their constellation – patterns and forms emerge from Saad’s placement of the pieces, and also from the wood itself. The cross section of the wood is like a thumbprint, at once individual and universal. As the title suggests, the arrangement of the forms here are guides to something greater in our universe.

Artspace Sydney 1 – 2 November 2008

Artists: Jim Allen, Brook Andrew, Denis Beaubois, Mark Brown, Katthy Cavaliere, Domenico de Clario, Julian Dashper, Elizabeth Day, Richard Dunn, Mikala Dwyer, Deej Fabyc, Matthys Gerber, Joan Grounds, The Kingpins, Derek Kreckler, Wade Marynowsky, Mike Parr, Eugenia Raskopoulos, r e a, Julie Rrap, Nuha Saad, Jill Scott, George Tillianakis, and Mark Titmarsh
Curator: Blair French

Twenty-four one-hour exhibitions. Twenty-five years of Artspace.

Twenty-four artists presented one-hour solo exhibition projects. Accumulatively Artspace 24/25 provided an opportunity to engage with a diversity of contemporary practices – installation, performance, moving image, sculpture, photography, new media and painting. In keeping with twenty-five years of commitment to artistic experimentation, Artspace 24/25 treated the gallery as an active working space, a place in which artists think, intuit, experiment and make.

Contemporary Visual Art + Culture Broadsheet 38.1 2009 24 Exhibitions for 25 years (pdf)
By Bruce Barber. Since the early 1970s Bruce Barber has worked across performance, installation, film, video and photography developing propositional and situational works that engage and question social and political regimes of power.

James Dorahy Project Space 11 – 30 September 2007

Nuha Saad explores the relationship between architecture and space in relation to contemporary theories surrounding abstraction and sculpture. Her highly coloured works painted in complex secondary and tertiary colour schemes investigate the inter-relationships between space and form, colour and ornamentation. She works in a poetic and speculative way while engaging with discourses of abstraction, aesthetics, memory and identity.

University of Technology Sydney Gallery 11 September – 13 October 2006

Artists: Paul Donald, John Nicholson, Nuha Saad, Huseyin Sami, Mimi Tong, Mark Titmarsh
Exhibition cordinated by Nuha Saad

Hardware brings together six Sydney artists working in the junction between sculpture and painting. These artists consider the relationship between the physical matter that forms a work, and the ‘matter’ (or idea) that informs it. Each artist uses materials not commonly applied to art making, such as prefabricated interior moulding, sheets of poured house paint, plastic and resin. Colour is also a vital textural and aesthetic element. Hardware investigates the role of materiality in the process of art making and tests the limits of what can be called painting.

Hardware (pdf)
Essay by Mark Titmarsh, Lecturer, School of Design University of Technology Sydney

Patterned Space
Esa Jaske Galleries Chippendale, 17 May to 1 June 2 2006

She is a pattern of domestic virtues, whilst wielding drop-saw and nail gun. Of being good and causing damage with a router, railing against the same. These are tendencies executed upon the surface of wood, carpet, wallpaper, cloth etc – you know the drill; the daily, alkaline grind now, here, as coloured shapes with an outrageous hue here and there. Incongruous and formed, this is sculpture as practiced audaciously and painterly. She knows the orbital of making things and the consequences of new forms within fields of view and, so it is, here, her persistent, exacting and occasionally exorbitant blade transposes domestic sense-impressions and restrained architectural practice to form Patterned Space. (Daniel Grafton)

Gitte Weise Gallery 28 July – 28 August 2004

Artists: included Paul Donald, Sarah Robson, Nuha Saad, Sherna Teperson
Curators: Gitte Weise and Alexie Glass-Kantor


Nuha Saad and Mimi Tong
Artspace Sydney 3 to 26 March 2005

Nuha Saad and Mimi Tong are artists who normally work independently, and are here working together for the first time. They share an interest in architecture or building details, or at least what can happen in or be made to happen to spaces. However, they use this arguably shared zone of interest in very different ways. While Tong’s work usually plays off the planes and junctions of rooms, Saad may work with a given space or, more often, make portable pieces that resemble aberrant furniture. (Professor Richard Dunn)

Nuha Saad + Mimi Tong: Intersecting Geometries (pdf)
By Professor Richard Dunn

Art Monthly May 2006. Shapes of inhabitation: Painting in the Expanded Field (pdf)
By Mark Titmarsh, Lecturer, School of Design University of Technology Sydney