Smith, J Diversity and Demise: Encounters with pelagic birds and sub-linguistic form, exhibition catalogue, Wollongong City Gallery (11 February – 14 May), Wollongong NSW.
In this catalogue essay written by Jason Smith for the exhibition Diversity and Demise: Encounters with pelagic birds and sub-linguistic form, Smith states “The charming eccentricity in Kelly’s ornithological renditions is alleviated by her astute attention to individual specimens’ patterning and coloration, and her intuition for shape”.
Kelly, Madeleine, MECO360: Between Expansion and Collapse, Posted on April 5, 2016 by sballard, | 4 April 2016.
In the mid seventies, biologists Lynn Margulis and James Lovelock described the earth as ‘autopoietic Gaia’, a living system, a body analogous to our own, composed of interdependent symbiotic relationships. ‘We are walking communities …Ten percent or more of our body weight is bacterial [in its evolutionary origins], and it’s just foolish to ignore that’, Margulis stated (378). So, to explore these relations, my paintings sometimes depict things as part of flow charts or systems, but just as natural systems are disrupted by culture, these are fictional orders that disrupt accepted orders.
Kelly, Madeleine, Mimicry and Mimesis: Matrix Insect, Animal Studies Journal, 5(1), 2016, 48-64.
Paintings and insects might seem like odd companions. In this paper I describe how a series of paintings I made depicting insects creates associations between mimesis and mimicry in order to ag a sort of protective self-referentiality – one where painting resists its proverbial ‘end’ and insects are presented as vital new orders. Drawing upon art historical references, such as Surrealism and the modernist grid, I argue that playing on these references and the compositional effects of camouflage enlivens our regard for the sensuous worlds of both insects and painting. I conclude by exploring how paintings of insects are powerful metaphors for imagining new non-hierarchal relationships between humans and non-humans.
Fitzgibbons, A 2011, ‘An Alchemy of Reflection’, in Hollow Mark, exhibition catalogue, 7 October – 13 November, pp.4-7.
Hollow Mark was curated by Director Simon Wright into the Griffith University Art Gallery in 2011, the exhibition was accompanied by a monograph with essay by Abigail Fitzgibbons.
Fitzgibbons, A 2010, ‘Madeleine Kelly, The Crevice’, Artlink, vol.30, no.4, p.85.
The body of work from The Crevice was first exhibited as a solo exhibition at Milani Gallery, Brisbane.The Crevice was reviewed by Abigail Fitzgibbons for Artlink (2010), who comments that “… [the crevice] haunted the edges of the composition, threatening the ordered and composed world..”
MacLeod, B 2013, ‘Profile: Madeleine Kelly’, in Artist Profile, no.25, pp.52-55.
The Surface of Language was exhibited by invitation at the Webb Gallery Queensland College of Art, Griffith University. The artist was interviewed by Bridget MacLeod in ‘Profile: Madeleine Kelly’, Artist Profile, November, Issue 25, 2013-14 pp52-55. The exhibition was reviewed by Hayley McFarlane, in ‘Brisbane Gallery Hop’, Artlink, Vol.33, no.4, 2013;
Milani, J 2003, ‘On the transformation of oil’ in Fossilphilia, exhibition catalogue.
In this catalogue essay written for the exhibition Fossilphilia (Filaments from Iraq), shown at Metro Arts, Brisbane, Josh Milani states, “Whereas one (crude oil) is transformed for the production of energy, hers is transformed for the production of culture, thus exemplifying through both medium and content what is in the end a humanitarian position.”
Morrell, T 2008, ‘The error of our ways: Madeleine Kelly’, Artlink, vol. 28 no. 1 March 2008, pp.60-65.
In this article written about the artist’s work for Artlink’s edition Fuel for Thought, Timothy Morrell states, “Madeleine Kelly’s pictures deal rather obliquely, evocatively and privately with problems that directly threaten the whole world. It is an oddly paradoxical way of treating subject matter that is of urgent significance to us all.”
The exhibition “The Surface of Language” was reviewed by Tristan Stonhill, 2013.