
Sarah Contos layers and manipulates sourced objects, personal artefacts and vestiges of popular culture to draw attention to the relationships between imagery, form and materiality. Working across sculpture, textiles, painting, video and installation, her work explores how emotional, psychological and theatrical interactions trigger intimate experiential responses within a broader collective memory. Often referencing art history, fashion, theatre and cinema, Contos examines the duality and ontological nature of objects with a contemporary and retrospective mindset.
Contos has collaborated on performance, costume and stage design projects since 2002. Since 2009 her work has been included in numerous significant solo and group exhibitions at major Australian institutions, including Eye Lash Horizon, University of New South Wales Galleries, Sydney (2024); In the Belly of Mary Shelley, Gertrude Contemporary, Melbourne (2023); Museum of Old and New Art, Hobart (2019); Balnaves Contemporary Intervention Series: Nikola Tesla Sends Theda Bara to Mars, National Gallery of Australia, Canberra (2018); Art Gallery of South Australia, Adelaide, (2018); and Carriageworks, Sydney (2017). Contos has undertaken residencies at Artspace, Sydney; 4A Centre for Contemporary Asian Art, Beijing; and DESA, Ubud, Indonesia. Contos received the 2027 Copyright Agency Partnerships (CAP) Grant Commission, culminating in a forthcoming exhibition at the Edith Cowen University City Campus Public Gallery. She was a finalist in the Sir John Sulman Art Prize (2026) and was awarded the Cité Internationale des Arts Paris Studio (2019), the Ramsay Art Prize (2017), and the Marten Bequest Travelling Scholarship (2011). Contos is represented in numerous significant private and public collections, including the Art Gallery of South Australia, Adelaide; Artbank, Australia; Heide Museum of Modern Art, Melbourne; National Gallery of Australia, Canberra; Buxton Collection, Melbourne; Campbelltown Arts Centre, Sydney and MECCA, Australia.

VERTICAL HOLD V (Little Women)
2025
collage screen-print and acrylic on cotton, PVC
200.0 × 180.0 × 14.0 cm

VERTICAL HOLD VI (Rosemary's Baby)
2025
collage screen-print on cotton, poly-fibre
137.0 × 274.0 × 10.0 cm

VERTICAL HOLD VII (The Shining)
2025
hand tufted synthetic fibres (100%), stainless hardware, poly-fibre, felt
220.0 × 155.0 × 40.0 cm

Eye Lash Horizon
2024
UNSW Galleries, 2024
installation view
Photo: Jacquie Manning

Eye Lash Horizon
2024
UNSW Galleries, 2024
installation view
Photo: Jacquie Manning

Eye Lash Horizon
2024
UNSW Galleries, 2024
installation view
Photo: Jacquie Manning

Bryans Ferry's Tears
2022
hand-cast aluminium
54.0 × 20.5 × 0.6 cm

RE-MARIA1996
2024
hand cast aluminium, chain, paint, found charms
40.0 × 25.0 × 20.0 cm

Nikola Tesla sends Theda Bara to Mars
2017-18
commissioned with the assistance of The Balnaves Foundation 2017
installation view, National Gallery of Australia

Nikola Tesla sends Theda Bara to Mars
2017-18
commissioned with the assistance of The Balnaves Foundation 2017
installation view, National Gallery of Australia

660 Love
2022
hand-cast aluminium, synthetic fabric
44.0 × 21.0 × 14.0 cm

Crushing Shrinking Violets
2025
Wollongong Art Gallery
installation view
Photo: Silver Salt Photography

Ramsay Art Prize
2017
Installation view
Photo: Saul Steed

Telekinesis II
2024
screenprint on canvas, handcast aluminium, stainless hardware
85.0 × 80.0 cm

Eye Lash Horizon
2024
UNSW Galleries, 2024
installation view
Photo: Jacquie Manning

Kafka’s Cat
2020
oil on wood
6 parts, total: 20.0 × 177.5 × 2.5 cm

Smudged Slap + Tickle
2022
hand-cast aluminium, synthetic fabric
40.0 × 26.5 × 12.0 cm

This is Not a Love Song
2017
Gertrude Contemporary
installation view

Eye Lash Horizon
2024
UNSW Galleries, 2024
installation view
Photo: Jacquie Manning

Eye Lash Horizon
2024
UNSW Galleries, 2024
installation view
Photo: Jacquie Manning

Eye Lash Horizon
2024
UNSW Galleries, 2024
installation view
Photo: Jacquie Manning

Fable
2018
STATION Naarm | Melbourne
installation view

Fable
2018
copper and nickel electroplated artist toys, fibreglass, nail polish, stainless steel, aluminium, wood, screenprint and acrylic collage on canvas, rubber
170.0 × 140.0 × 35.0 cm

Fable
2018
STATION Naarm | Melbourne
installation view

The Red Shoes (after Kate Bush)
2020
oil on wood, acrylic on screen-printed canvas on canvas, poly-fibre
39.5 × 35.0 × 12.0 cm

Snakes and Ladders
2017
screen print on cotton, various fabrics, polyurethane, found fluffy dice

On Tour
2017
wigs, found glasses, thread, artists clothing

Backwards Bends
2017
rubber, steel, plastic chain
dimensions variable

Shadowboxing
2014
collaged screenprint on linen, beadwork, thread
80.0 × 68.0 cm

1917: The Great Strike
2017
installation view
image courtesy Carriageworks and the artist © the artist