Hazel Dooney
> 2013 TEN DICTA FOR YOUNG WOMEN WHO ARE ARTISTS
> 2012 KILL/JOY
> 2012 VENUS IN HELL REDUX
> 2011 THE FLESH EATERS
> 2011-2012 PORTRAITS
> 2010-2013 BIG PIN-UPS
> 2010 AMANDA PALMER ALBUM
> 2009 THE IF... STENCILS
> 2009 YES/NO STENCILS
> 2009 PRECIOUS BLOOD
> 2008-2012 DANGEROUS CAREER BABES
> 2008 COWBOY BABES
> 2007-2008 KELLY AND LIN
> 2006 VENUS IN HELL
> 2006 OTHER WORKS ON PAPER
> 2006 GRIFFITH REVIEW COVER
> 2005 STYLE SESSIONS NYC
> 2004 SELF VS SELF
> 2004 NATIONAL WORKS ON PAPER
> 2001-2005 LAKE EYRE
> 2001 STRATEGIES FOR SURVIVAL
> 2001 TOO MUCH NEVER ENOUGH
> 2001 SLIGHTLY INDECENT
> 2001 READY SET GO!
> 2000-2012 SPORTS CAREER BABES
> 2000-2013 CAREER BABES
> 2000 FILM STILLS
> 2000 POLA AUTO-EROTICA
> 1999 ACCOUTREMENTS OF DESIRE
> 1999 OTHER WORKS
> 1998 ULTRA VIOLET ONE
> 1998 FASHION TARGETS BREAST CANCER
> 1998 OTHER WORKS
> 1997 STREET ART
> 1997 HAZED (FIRST EXHIBITION)
> 1996 EARLY PAINTING
> 1995 HOMOGENEOUS BABES
NO! (detail)
NO! (detail)
NO! (detail)
 
NO! (detail)
NO! (detail)
NO! (detail)
 
YES? (detail)
YES? (detail)
YES? (detail)
 
YES? (detail)
YES? (detail)
YES? (detail)

2009 YES/NO STENCILS

My early work was influenced by graffiti, sticker tagging, agitprop and
propaganda posters from the mid 20th century. Back then, I was interested
in the wood block prints produced during China's Cultural Revolution, in
which symbolic colours and simplified shapes reinforced short, directive
slogans. Ease of printing meant that these were among the most intensively
mass-produced, widely distributed art of the pre-web 20th century: the
objective was maximum saturation of the imagery and the propagandist
ideas represented in it.

Given these influences, the obvious medium for my serial works was stencil.
This gave me pause: conventional stenciling is crude and I didn't want to
end up with a pastiche of bad street art. I experimented with different
methods and materials. I wanted the finish to be beautiful and seductive,
referring to ideas in my other hard-edged work. It also had to be durable.
The final result is hand-stencilled in high gloss enamel on 100% cotton,
museum-quality, archival mat board – the stark contrast of shiney paint on
flat, unprepared board is stunning.

Like agitprop street posters, different versions of the same – or opposite –
messages can be hung together.

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