2011 THE FLESH EATERS

Each drawing approximately 15cm x 16cm in dip pen and black ink on
42cm x 29.7cm, 300gsm cold-pressed paper.


“I don’t think anyone really bothers to reconcile the disparities between
our online and offline personae.”

– Hazel Dooney

I’m no art critic but common sense tells me that when a young artist is
banned in their home country, their art is probably pretty damn good.
At the very least, someone with a mistaken sense of power fears it. As
my granny, a refugee from Hitler’s Germany, used to say, “Banned art
is the best art.”

Hazel Dooney’s obsessive narrative comes replete with all the big,
brawny, Barthes-ian social, political and sexual schemes currently
streaming and steaming the zeitgeist: she talks the talk and walks the
walk.  She’s hot and hot-headed, the ultimate babe-warrior in the art of
war – or is it the war of art?  She is a hypnotist-collector; you are a
walking antique...

Hazel Dooney: Stoking the Fires of Necessity, Amos Poe. New York, 2012