Shelley McKenzie / Cricket Saleh
7 November - 1 December
Cricket Saleh / Howl
The intent with Howl has sat with the maker, Cricket Saleh, since the completion of Dog.
Dog had conversed around human consumption, as Cricket’s work has for almost a decade.
Dog held on to a painterly photographic technique, refusing to relinquish a renaissance tonality, yet there were hints of a modern world.
Flowers decayed through neglect, sitting quietly in an ordinary world. The light spoke of electricity, and shuffled away a little from the window light of Vemeer.
A celebration of the process by the artist, and a quiet response to our feverish consumption of the new.
Howl looks to turn inward.
The viewer is overwhelmed by the conversation and retreats.
The set is, in the beginning, nebulous. The dressed or the undressed table. is the protagonist. Yet is begins devoid of much colour.
Any ripple in the drapery a relief from the monastic tonality.
The intent is to create calm, but there is tension between the props.
Nature returns, like a reoccurring dream, in differing stages of decay.
Howl is a series of still lives that hope to create an internal world, somewhere between dream and nightmare. An oscillation between the two. The viewer continues to grapple with a world full, so very full, but the conversation is fragmented, less linear, like talking underwater, possibly the delivery seems non sensical. My hope is that Howl will deliver something to all senses. With different levels of force, the work hopes to create something so very still, as two dimensional art can only do, but with its own internal movement. A stirring if you will.
Cricket Saleh works in Photography. In a professional context she is highly sought after for her completely unique approach to image making. She has a seemingly effortless ability to capture the feeling and atmosphere of a concept. In her arts practice Cricket explores the genre of Still Life, simultaneously referencing art historical understandings of the medium and subverting it. She creates the illusion of a painted surface through considered lighting. Her works are crisp; simple compositions, tangible texture and moody tones. Cricket’s photographs depict an ongoing interest in the ephemeral nature of life. Beauty, indulgence, consumption and decay are underlying themes in her artwork.
Shelley McKenzie / Material World
“This body of work contains objects contained in rooms, contained in a house contained in a landscape. People have made an appearance in some of the works and hint at some domestic drama or other.
As a quilter, my dear Mother pieces together with coloured, patterned cotton materials. Lucky recipients have an object created with love, time, artistic and mathematical decision-making. These paintings reference the bringing together of scraps or remnants to create a harmonious design but with the spontaneous freedom that paint and ink allow. Of course, the colours must star- the yellow will show off, the orange glow, the Payne’s grey stabilise and anchor, the hot pink sing, the objects call and respond to each other through shape and pattern, light and shadow.”
Shelley McKenzie is an established artist who has exhibited extensively throughout Australia, her work is held in both private and public collections. Shelley lives in a small rural town outside of Geelong surrounded by bushland, her home environment is often reflected in the themes and motives of her work.
She describes her work as being about the process of making. “Each step in the creative process mobilizes an aspect of being … My practice reflects my interest in the organising of space through the push and pull of layers of paint and other media. Incorporated into the layering are fragments of objects, shapes and patterns that are part of my physical environment and emotional geography.
Exhibitions runs 7 November – 1 December
Opening Celebrations Saturday the 9th November, 1 pm-3 pm
For information on the current exhibition and for a full listing of the works head to: