RAZZLE DAZZLE CHROMA
June 18 – July 3 2022
On a recent visit to a historic submarine base in Sydney, Nuha Saad came across the ‘razzle dazzle’ naval camouflage technique. This was a military practice whereby ships were painted in bold geometric patterns in order to camouflage them and to ‘dazzle’ an enemy submarine commander’s perception of a ship’s size and shape. The practice of ‘razzle dazzle’ resonated with Saad, who imagined towering walls of metal painted like mobile artworks, gliding through water in bold patterns. While also reminding Saad of her parents migration by ship to Australia and the patterning and colour of the migrant ship’s hull. Together these influences were inspirations for Saad’s current exhibition Razzle Dazzle Chroma, where she continues her exploration into the cultural and ornamental through experiments in colour and form.
EXHIBITION ESSAY
Razzle Dazzle Chroma (pdf)
MEDIA
Artguide 17 June 2022. Structures of Colour
By Briony Downes
Artist Profile 59 Issue, An Archaeology of the Suburbs
By Courtney Kidd
WOMEN IN ABSTRACTION
ANZ Private Gallery Melbourne VIC
September 2 – October 28 2022
Women in Abstraction presents work by contemporary female artists working across the various fields of abstraction. Featuring work by Australian and New Zealand artists, the exhibition spotlights the remarkable contributions of contemporary female abstractionists to antipodean art history – and, indeed, art history at large.
Artists: Angela Brennan, Eleanor Louise Butt, Leslie Dumbrell, Emma Coulter, Lara Merett, Judy Millar, Nuha Saad, Antonia Sellbach, Noël Skrzypczak, Wilma Tabacco, Kate Tucker and Rebecca Wallis
Curated by Camille Klose for James Makin Advisory
EXHIBITION ESSAY
Women in Abstraction (pdf)
By Laura Kirkham
COLOUR IN FORM
July 27 – August 17 2024
In her latest exhibition, Colour in Form, Nuha Saad continues her fascination with the ornamental and the architectural. Through investigations in colour and form, Saad presents a new body of sculptural floor and wall works in an expanded chromatic palette. Forgoing her usual high-key, vivid colour spectrum Saad instead turns to a pared back palette and tertiary hues. Although solid to the touch, Saad’s sculptures appear ethereal – as if floating in space, the works stand their ground, welcoming viewers as new conversations and experiences are drawn out.