The way she handles paint is casual, and her appropriation of pictures from the media (often from Eastern European sporting events) looks somehow improvised. In this exhibition, entitled ‘Global Joy’, McKenzie mined neglected aesthetic reservoirs. A series of snapshots, presented like evidence in a glass cabinet, documented the artist meeting her friend Paulina Olowska in Poland (Plastyczna Integracja, all works 2001). On a wall at the edge of the Danziger Solidarnosc shipyard, the two artists installed paintings that recalled the public art of the former Eastern Bloc mixed with the naivety and spontaneity of McKenzie’s own motifs. Her images are full of romantic representations of girls and idealistic youth culture created from opposition and self-sufficiency.