The work of Kerrilee Ninnis is a response to the theme of childhood, following her interests in nostalgia, memory and narrative. Using toys, books and other objects left behind by loved ones or collected along a journey, her imagery weaves together favourite themes of children, motherhood, sentimental objects, history, preservation and loss.
Even the process of creation can be nostalgic: her photographic work is generally shot on her beloved 645 medium format camera with black and white film. Ninnis talks of the listening with satisfied glee to the click and wind of the old mechanisms with each frame.
Various images suggest narratives and others incorporate plays on words. Some of those stories incorporate fact, other photographs simply imply their tales and the human experiences related to them, incorporating the Australian dream, desire and childhood moments when falling shadows create frightening entities beyond themselves.
Ninnis is fascinated with keepsakes which can trigger memories and fantasies alike. So many lives have touched them, and the fullness of their stories still remains to be seen.
Recent exhibitions include
2018 Re:collections, Tacit Studios, Melbourne 2016 Remains to be Seen, Tacit Contemporary Art, Melbourne; Remains to be Seen, Montsalvat, Melbourne 2002 Re:invention, City of Glen Eira Gallery, Melbourne
2020 Embedded Revisited; 20, Tacit Galleries, Melbourne 2016 Childhood, Montsalvat, Melbourne 2004 There were Ten in the Bed; reflections upon the subject of intimacy, Tacit Contemporary Art, Melbourne 2003 Fragility, Tacit Contemporary Art 2002 Drawing from the Past, Tacit Contemporary Art 2000 Embedded, Tacit Contemporary Art; Spooky: Ghosts, spirits and the uncanny, City of Glen Eira Gallery, Melbourne