Selected Group Exhibitions

Drawing Exchange, Curated by Maryanne Coutts and Luke Thurgate, Raynor Hoff Gallery, National Art School

Sally Clarke, The Void, 2017, plasticine. Image 1: (Sydney) 350 x350cm Image 2 (Adelaide. Drawn under instruction by Chelsea Farquhar), 100 x 100cm.

Drawing Conversations, Raynor Hoff Gallery, National Art School, 2016

Sally Clarke, The Snake Charmer, 2016, plasticine, 350 x 15cm.
Image 1: Margaret Roberts Image 2 and 3 Sally Clarke

Second Comings, Curated by Sarah Newall and Jane Polkinghorne,
Marrickville Garage, 2016

The Rottenness of Bruyckereberg fuses Berlinde de Bruyckere and Mika Rottenberg where the brutalised body meets the body as a site and bearer of production. Located in a suburban garden and constructed from fallen eucalyptus tree limbs, pineapples, bandages and risen dough Clarke’s artwork alludes to the suburban everyday and the forces of nature mashed with human endeavour literally and metaphorically.

Notes Towards A Future feminist Archive, curated by Bronia Iwanczak and Lynne Barwick, Affiliated Text, Sydney, 2015

Sally Clarke, They Even Swear on Occasion, 2015, eucalyptus branch, acrylic paint. Image: Sally Clarke

Gallery Door Project, Marrickville Garage, Sydney, 2013

Monochrome, Sheffer Gallery, Sydney, 2014

Quadrant, Factory 49, Sydney, 2014

Height by Width 1, Sheffer Gallery, Sydney, 2012

Discourses Ad Infinitum (2012) consists of 116 pages removed from Joshua Reynolds’ art directive, Discourses on Art. The pages have been painted pink on both sides with the facing side covered in graphite. The work is mounted onto the wall in a grid format, each page secured at just one point allowing it to react to the atmospheric conditions of the space. Over time the pages curl to expose a hint of pink from the underside. The pink underside also reflects onto the wall providing each page with a pink, queer aura while light reflects off the cool graphite-facing surface further preventing access to the text.
Discourses Ad Infinitum reflects upon the idea that meaning functions within and beyond the limits of a work’s physicality to occupy dialogical and temporal space. While knowledge is continually revised and negotiated, the scaffolding, the structures of authority through which it is constructed, evolve more slowly giving weight to the old adage that history repeats itself. Yet always, there is a glimmer of hope on the horizon: a new way of being, a new paradigm or process to be imagined. Perhaps this new form is coloured pink? As Yves Klein stated, ‘… colour is infinity … colour is free.’ Pink is disobedient. Sally Clarke, artist statement.

Modern Ritual, curated by Catherine Benz, Delmar Gallery, Sydney, 2011

IN[TWO]ART, curated by Joseph Eisenberg OAM, Maitland Regional Art Gallery, 2010

Floors and Wars (2010) straddles a space between the wall and the floor as Clarke considers its position in relation to high art and decoration. Black and white chequerboard is a pattern found on many contemporary kitchen floors yet can also be traced, for example, to domestic scenes of seventeenth century Dutch painting. There is, however, a more disturbing dimension to this work. Embedded into the vinyl pattern are silhouettes of human casualties, mostly children, of recently reported wars and violence. The domestic realm evokes home as a place of safety and nurture yet every day it mediates a host of inconceivable truths conveyed not only from the external world but also from within its own walls.

Tactile Art Award, Object Galleries, Customs House, 2001

Days In Paris, Ivan Dougherty Gallery, UNSW, 2002

Sally Clarke, Parisian Sponge, 2002, acrylic on MDF, aluminium. Image: Sue Blackburn
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