Me, We, Women

That project was called The Failed Realist, which is what psychologists call the stage of child development between four and six years when their verbal and visual skills are beyond their mark-making abilities. This means that a child’s desire to represent their world through drawing or painting is hampered by motor, graphic and cognitive obstacles that are subsequently overcome with age.

“The motivation to make this work was my family circumstances. My daughter was three when her brother was born with severe health issues. He had multiple surgeries over his first year of his life and when the dust was settled a bit, he was left needing to be tube fed by a pump system straight into his stomach that meant he was attached to a machine for 18 hours out of every day. This meant that the three of us were confined to home for much of our time together. The urge to create was still there, but my materials and subject matter had to be found within our home. It was really my daughter’s idea to paint my face, though it was my idea to photograph it. It was completely driven by her. She chose what to paint and she named the pictures. It was very difficult to sit still for over an hour while she painted. At age four her fine motor skills were very much in their infancy and her brush strokes were at times harsh and scratchy on my skin. It was very interesting from a psychological point of view to submit myself entirely to her desires. Then in 2017 when my daughter was 11 I was commissioned by Pylot magazine to create a new work for publication and I thought it would be interesting to see what would happen if we revisited the project. Her concerns as a ‘tween’ were very different to those of her four to six-year-old self.

“Reference: Trish Morrissey, http://www.trishmorrissey.com/works_pages/work-work-successful-Real/workpg-01.html

The Successful Realist is a reprise of a project Trish made in 2011 when her daughter, Caitlin, was five years old. For that series Caitlin painted Trish’s face to represent various aspects of her world: a movie she had watched, a social event, or a vivid dream. Together, they then photographed the results of the young girl’s artistry. That project was called The Failed Realist, which is what psychologists call the stage of child development between four and six years, when their verbal and visual skills are beyond their mark making abilities. This means that a child’s desire to represent their world through drawing or painting is hampered by motor, graphic and cognitive obstacles that are subsequently overcome with age.

“It was very interesting from a psychological point of view to submit myself entirely to her desires. Then in 2017 when my daughter was 11 I was commissioned by Pylot magazine to create a new work for publication and I thought it would be interesting to see what would happen if we revisited the project. Her concerns as a ‘tween’ were very different to those of her four to six year old self.”

Reference:

Trish Morrissey, http://www.trishmorrissey.com/works_pages/work-work-successful-Real/workpg-01.html

Seven Years (2001-2004) aims to deconstruct the trope of family photography by meticulously mimicking it. In the series, the title of which refers to the age gap between the artist and her elder sister. In order to construct images that appear to be authentic family photographs from the 1970s and 1980s, Morrissey uses period clothing and props, both her own and others, and the setting of her family’s house in Dublin. They assume different characters and roles in each image, utilizing body language to reveal the subtext of psychological tensions inherent in all family relations.

“I was interested in the notion of the family album as propaganda. We pause and we pose for a snap, we put on our best face. The best pictures are chosen for the album – the picture where everyone is smiling and looks happy. This gives the impression of an ideal family life. The image of a happy functional family unit. However, the true nature of people and emotions often lie in the smaller gestures that go unnoticed at first. It could be the space between people, the placement of a hand, a sideward glance.  Perhaps these gestures are discovered on closer examination at a later date when answers to yet unknown questions are being sought. The type of photographs that informed ‘Seven Years’ were the ones that would never have made it into the album. They would have been the mistakes, the discarded.”

Reference: Trish Morrissey, http://www.trishmorrissey.com/works_pages/work-sy/statement.html

Seven Years (2001-2004) aims to deconstruct the trope of family photography by meticulously mimicking it. In the series, the title of which refers to the age gap between the artist and her elder sister. In order to construct images that appear to be authentic family photographs from the 1970s and 1980s, Morrissey uses period clothing and props, both her own and others, and the setting of her family’s house in Dublin. They assume different characters and roles in each image, utilizing body language to reveal the subtext of psychological tensions inherent in all family relations.

“I was interested in the notion of the family album as propaganda. We pause and we pose for a snap, we put on our best face. The best pictures are chosen for the album – the picture where everyone is smiling and looks happy. This gives the impression of an ideal family life. The image of a happy functional family unit. However, the true nature of people and emotions often lie in the smaller gestures that go unnoticed at first. It could be the space between people, the placement of a hand, a sideward glance.  Perhaps these gestures are discovered on closer examination at a later date when answers to yet unknown questions are being sought. The type of photographs that informed ‘Seven Years’ were the ones that would never have made it into the album. They would have been the mistakes, the discarded.”

Reference: Trish Morrissey, http://www.trishmorrissey.com/works_pages/work-sy/statement.html

Front (2005-2007) deals with the notion of borders, boundaries and the edge, using the family group and the beach setting as metaphors. For this work, the artist travelled to beaches in the UK and around Melbourne. She approached families and groups of friends who had made temporary encampments or marked out territories and asked if she could be part of their family temporarily. Morrissey then took over the role or position of a woman within that group – usually the mother figure. She asked to take her place, and to borrow her clothes. The woman then took over the artist’s role and photographed her family using a 4×5 camera (which Morrissey had already carefully set up). While Morrissey, a stranger on the beach, nestled in with her loved ones. Each piece within the series is titled by the name of the woman who Morrissey replaced within the group.

“I have often pondered how I would have felt if I had been approached by someone on the beach while I relaxed with my family on holiday. I am not sure I would have said yes! The families who are collaborators in the project ‘Front’ were very generous to allow me to photograph them. The women who permitted me to replace them within their family group, (even if it was just for a photographic moment) especially so. I wonder how the dynamic would have been had I been male, asking to replace the Alpha of the family group. I don’t think many would have agreed. I think women in general are more open and accepting of other women than men are of each other. Yes, the boundary did melt away somewhat. In retrospect, I realised that I was ‘trying on’ motherhood. I became pregnant shortly after I began the project, though I was not showing until the winter and gave birth the following Spring. I carried on the project for another year after I gave birth.”

Reference: Trish Morrissey, http://www.trishmorrissey.com/works_pages/workfront/statement.html

Front (2005-2007) deals with the notion of borders, boundaries and the edge, using the family group and the beach setting as metaphors. For this work, the artist travelled to beaches in the UK and around Melbourne. She approached families and groups of friends who had made temporary encampments or marked out territories and asked if she could be part of their family temporarily. Morrissey then took over the role or position of a woman within that group – usually the mother figure. She asked to take her place, and to borrow her clothes. The woman then took over the artist’s role and photographed her family using a 4×5 camera (which Morrissey had already carefully set up). While Morrissey, a stranger on the beach, nestled in with her loved ones. Each piece within the series is titled by the name of the woman who Morrissey replaced within the group.

“When we are presented with a ‘family snap’ we are so familiar with the tropes therein that we take for granted what we are seeing. The photographic language of family photography transcends culture. Family photography has conventions and rules.  The roles of mother, father, children, grandparents are presumed. In ‘Front’, the viewer is taken in by the artifice and accepts that I am part of the family because I am following these visual conventions while subverting their meaning. My performance is studied. In order to fit in with the family, I have observed them to understand their dynamic. Before I approach them to ask if I can be part of their family for a moment, I also try to dress in such a way that I look like I am already part of their tribe.”

Reference: Trish Morrissey, http://www.trishmorrissey.com/works_pages/work-front/statement.html