Liz Morison

I make objects, installations, films and photographs about the public secrets of others while reflecting on my own.

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My research has wandered through film and fetishistic forums and on to existentialism and psychoanalysis, reading, looking and thinking about the very beginning. The beginning, when we and the breast are one, when we identify the first part object of the breast, aware of even before birth before a knowledge of 'Mother" Sometimes the Breast is available to nurture, 'Good' and sometimes not, "Bad'. The Breast, Good and Bad is successfully integrated by the Good Enough Mother who manages the knowledge and frustration of our helplessness and need (Klein, Winnicott, Bion, Balint). 

The Transitional Object is our own creation, enabling us to cope in the limbo when the Primary Object is not there,  evidence for imagination, creativity and the ability to play.  Play is imagining and creating, sex is play for adults. The childhood toy on which we acted out our experiences, emotions and need for companionship, may develop into something else as we get older.

 

I have been playing with materials that seduce, that ‘comfort’ inviting the observer to interact with objects and installations. These performative objects await and expect exploration to be complete. Juxtaposing the absurd and the uncanny, sensuality and ambivalence has been the game that I want to play with others.

 

Drawing and making have extended ideas that have developed from comparing artists such as Emma Talbot and Sidsel Meiniche Hanson, with Jon Rafman, Nathaniel Mellors and Ed Fornieles.  Experimentation, analysis and critique have brought me to the place I am now.

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