Sydney Morning Herald August 4, 2015
Marnie Haddad’s cinematic photography channels Hitchcock thrillers. By Dylan Rainforth.
‘Photographer Marnie Haddad says she was after the psychological mood of a Hitchcock thriller for her aristocratically titled exhibition, Max de Winter.
Forget the shower scene from Psycho, these are the icy manipulations of the Daphne du Maurier adaptation, Rebecca. Haddad says she loves the “romantic undercurrents and cinematic staging” of the classic film era. “I became obsessed with the technical aspect of colour and light, and from there I could explore the effects I wanted to achieve,” she says.
Her carefully composed images make use of dramatic lighting but are shot with a handheld camera to emphasise a slightly grainy, filmic quality, something the artist underlines by eschewing any retouching.’