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
> 2000-2014 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
KILL/JOY:  STUDY FOR A PUBLIC MURAL (I) (detail)
KILL/JOY:  STUDY FOR A PUBLIC MURAL (II)
KILL/JOY:  STUDY FOR A PUBLIC MURAL (III)

2012 KILL/JOY

I have always wanted to paint a large scale mural. At the beginning of my
career, I made some of my first good money creating artworks on the walls
and facades of boutiques and bars but noone has yet offered me the wall
space, public or private, on which to conceive a very large work without
constrictive provisos about what I could paint.

A few years ago, I tried to get around this by creating a series of large high-
gloss enamel paintings on large timber boards. Dangerous Career Babes was
conceived as an 'installation'. Each Babe was exactly the same size (on a
1.60m x 2.10m background), in exactly the same pose, but in different
'costumes' and colours (just like a Barbie Doll). When hung very close
together in a large institutional or corporate space they were intended to
overwhelm the viewer and to force them to confront how they viewed these
emphatically feminist yet feminine images.

Now I am intent on realising an even larger-scale mural. Kill/Joy references,
in part, the stark simplistic stencils of street art as well as the media-
inflected themes of kinky sex and violence that persist across my oeuvre. I
want each of the nine images (and their words, which are just the slightest
tug of the forelock to Magritte) quite literally to overshadow the observer's
view of them as discernible 'objects' – to blind them, as it were, to the
bloody obvious.

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