Danielle Tooley’s painting practice stems from an interest in vernacular photography as a domestic ritual, and the role photography plays in identity formation. Working from found and personal analogue photographs, Tooley utilises painting as a tool for deconstructing the presumptions of veracity that give all photographs a kind of authority.
Light leaks, scratches, or even parts that are out of focus are easily ignored when looking at a photograph, mostly because we trust that photographs really are experience captured; that they offer up a ‘fixed now’ that can be possessed, categorised, and measured against what we estimate as real. In a painting, however, traces of mechanical production work to disrupt traditional bonds between subject and object, between objects and their representation.
Identities blur; pasts converge; memory is not merely revealed, but produced and sustained by the image.