The works in Felt reference the striking abstract forms used in earlier works, such as the temporary chalk drawings made on the streets of Frankston as part of his White Street Project Linemarking and the delicate, multi-coloured works on paper, as seen in Freehand: Recent Australian Drawing at Heide Museum of Modern Art. Inspired by everyday sites and scenarios such as the lines on sports courts and parking lots, and the imagery of road and street markings, Selenitsch’s engagement with geometric shapes has produced a unique elemental language. His interest lies in the point where recognisable imagery emerges from, or disappears into, the abstract:

‘Most such markings are created to facilitate a specific game or set of rules. The rules of my game are different. It is a game of not knowing, of suggestion and evocation. The game I wish to provoke is one of the imagination’.