Bunny Noir 1995 (Welcome to Australia!)

Balsa wood object and soft toy, base 40 cm x 40 cm, 35 cm high.

Rumours 1990,

Installation shown at the Art Gallery of NSW for the 8th Biennale of Sydney: The Readymade Boomerang, curated by Rene Block. A self generating sound installation using the sound of a flowing creek as an initiating source combined with room sounds, room resonance etc. Exhibited in the colonial section of the Art Gallery of New South Wales (previously named,Chinese Whispers).

To hear an audio sample please click the arrow below

Water

Façade 2008

Fourteen photographs in series. The photographs captured a mix of shoppers, workers, and passers-by from Wollongong City Mall: digital mural prints for exterior of Wollongong Art Gallery .

White Goods, “… contemplates the fundamental inability of a dominant culture to ‘see’ another and to recognise concentrated degrees of abuse. Kreckler is interested here in the condition of the crowd – its ordered informality before acts of violence, its final submission to the simple, good things in life at the expense of intervention on behalf of others. It is, to a degree, analogous to our wiling inability to see what lies before our eyes – the strange (the horrendous) is absorbed within the everyday business of a spectacle-based culture.”

Blair French, DEREK KRECKLER: ALLEGORIES OF VISION
First published in Isabel Carlos, curator and ed., On Reason and Emotion: The 2004 Biennale of Sydney, exhibition catalogue, Sydney: The Biennale of Sydney, 2004

The photographs from this series were exhibited using advertising billboards, located each side of the Southern Freeway on the border between the Illawarra and the Sydney metropolitan area. The images are named: “Roy takes a breather after showing Kelton the best fishing spots” (travelling north, Waterfall, NSW) and “Strewth” (travelling south at Heathcote, NSW). Both photographs show two Indigenous men standing in close proximity to a painting by Eugene von Guérard (1860).at the Wollongong Art Gallery called View of Lake Illawarra with distant mountains of Kiama.

With images that are coolly precise and quietly performative, the apparent everyday quality of the scenes typically belies the web of temporal and perceptual concerns that cook and simmer with prolonged looking. Driving around the gentle bend and over the crest of the road on the approach to the “Strewth” billboard at Heathcote, the immediate impression of encountering two large-scale figures looming over the traffic with their backs turned away from the stream of passing cars was almost disconcerting in its denial of the viewer’s gaze. But following the direction of their line of vision into the painting, guided by Pell’s gesturing toward the von Guérard with an outstretched hand, absorbs the viewer into the men’s shared act of observation. Momentarily, looking takes on a surprisingly participatory dimension. For the drivers who passed the billboards on their daily route along the Princes Highway the back story of the images’ construction would have been irrelevant—what the observant driver encountered was a puzzle, a cryptic story with a network of referents that yielded more clues with each repeat viewing, while refusing any revelation.
Ella Mudie 2012.