2001 SLIGHTLY INDECENT
Hazel Dooney's work carries the subversive and slick trademarks of
contemporary consumer culture. Like Warhol and Lichtenstein, Dooney
understands that, in contemporary society, the media can communicate
more effectively to a greater number of people than an art object can.
The comic book reality of her amazonian überbabes is instantly
recogniseable. Dooney's girls invite the viewer to aspire to their perfect
dimensions, and prominent charms.
Like the girls in a James Bond movie, their sexuality is a worthy
weapon, but strangely impotent when push comes to shove. Like the
best advertisement, they make you an offer you can't refuse, but
satisfaction is never guaranteed. Like most offers of this nature, they
are simply too good to be true.
Dooney's candy coloured palette is straight from the swatches of a
Seidler pad – smooth, hip and modern as tomorrow. They are
egalitarian colours for the everyman. Easy on the eye and hard to
Unlike Warhol, who sometimes used a loose brush and deliberate
paint drips to parody expressive painters, there are no tell tale
brush strokes in Dooney's work that might betray a flawed human
touch. She works in high gloss enamel paint allowing for a flaw
free surface that appears to be still wet and forever new.
Dooney's work exploits the values of consumer culture and the
myths of post feminist girl power and in doing so exposes them.
Like the culture they parody, they are superficial, but glamorously,
– Jenny Hanson Read, February 2001