Thursday, 23 June 2016

Eilidh Page Morrissey

The work of Eilidh Page Morrissey exhibited at the Glasgow School of Art's Degree Show this week had a similarity with Rachel Maclean's work in that its visual language was one of old cinematography from the late 1960's and early 1970's. Eilidh's work also played with the kitsch, grotesque and highly saturated plastic pop culture, imagery almost made more intense by the use of  purposefully primitive styles of  film-making  

"My film The Jellybaby is a consideration of self/girlhood in a contemporary networked society. It questions the ability for connection between humans in a world separated by screens. I like objects, and the protagonist of The Jellybaby is as much a character as the objects around her. The film explores her choreographed interaction between these meticulously sourced objects within physical and digital spaces, green screened, surreal sets.
The post-net human condition demands that you are what you “like”. I like glass jelly moulds: the shiny lumps and bumps remind me of Barbarella, they make me think of old domesticity, women in aprons. There is potentiality in moulds, a promise of ability, to change form, then take shape and settle.
I like pink. Saccharine and sugar coated, when used in abundance it can be weaponised. Emotional visibility, softness, bodies and bedrooms.
I like pantomime, melodrama, the theatrical and the artificial. Artificial gold and melodrama intersect on the surface of things, in that they are all surface: they lack depth, are deemed unnatural, and pushed into the realm of bad taste.

I like artificial gold, too." 
Eilidh Page Morrissey