Trish Morrisay

Meeting Trish was a very very nice experience. She has always being a great influence for myself. Showing her my project and feeling so understood was amazing so it was to see how I could improve it.

But what I highlight from it was the speech. It’s great to see how a postmodern artist can be SO versatile. She started recreating her family archive which I think is a great idea because it’s you recreating images of people that is your past and yourself as well. Creating a new but yet old reality… It’s the recycling of the images that the postmodern art talks about all the time, use already exiting images to create new ones.

Then, the she wasn’t able to work outside, she managed to create art at home collaborating with her son which is both good for her as a professional and for her as a parent. And finally how she ended up doing something radically different such as recreating the story of a woman from long ago and creating a video as the art piece.


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, Morrissey functions as director, author and actor, staging herself and her sibling in tightly controlled, fictional mis en scene based on the conventions of family snapshots.

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. The resulting photographs isolate telling moments in which the unconscious leaks out from behind the façade of the face and into the minute gestures of the body.”

The recreation of the family album as a way of a better understanding of your family and to show your family background I think is a fantastic idea. The fact that she was model with her sister makes it even better because they, as the last generation born at that time, was the creation of a strong bond in-between both of them. However, I think that they information on her website is not enough as I think that each picture needs a bit of explanation because we don’t know who are the people that is represented on the photo.


"Acertain slant of light" The photographs and films that form A certain slant of light were made during a year long residency at Hestercombe House, a stately home and gardens in Somerset, England. The project developed around my research into the lives of Elizabeth Maria Tyndale Warre (1790-1872) and The Hon Mrs Constance Portman (1854-1951), two women who at different times in the nineteenth and early twentieth centuries ran this extensive country estate without the influence of men. 'Miss Warre of Hestercombe' and ‘Mrs Portman’ as they were known respectively were both eccentric in different ways. Miss Warre who never married, had a very personal take on fashions of the time and would cause a stir whenever she went out in her nineteenth century home made clothes and bonnets, with her hair tossed up any old how, fastened with a comb. She was a great beauty in her youth, but rebuffed all suitors and was a recluse from middle age, never leaving the estate. Mrs Portman became widowed early in her marriage and was devoutly religious. She forbade the house servants from looking her in they eye, looking out of the window, or going into the garden. She liked her lady's maid to stroke her feet with a feather to help induce sleep. Mrs Portman allowed the servants to listen to the gramophone on their afternoon off, but she chose the music. Crossing the disciplines of performance and photography I drew on extensive archive material such as photographs, drawings, newspaper clippings, letters and testamonies. Combining fact, fiction and fantasy, and playing all the roles myself, my films and photographs are based on my interpretation of the lives of these extraordinary women. I touch on a broad range of themes that span past and present, including class, gender and role-play, body and gesture, the language of photography, and the uncertain, ambiguous relationship between public and private, all performed in the English countryside.




I love the idea of creating a project in order to enhance female figures that played more liberal roles than what they were supponsed to play at their time. Liking them to the same place and using their most relevant characteristics I think it was amazing. However, this project in my opinion is one of the weak ones. To me, the images most of the images aren’t quite powerful. However this is my opinion right now and I have so much to learn. But there is something that I don’t like about how the art industry works now-a-days.

Back in time, artists where not pressured to PRODUCE art but now we are and that is putting us in a position where we have to create systematically as machines does. We are not machines. We don’t have always great ideas no matter who we are. Not all ideas are good ideas. And we need to be critic with the are that we produce and the art that we consume, as I think that the name is has not the same quality as the work signed under the name. And this idea is not just because I don’t understand this project or I think that is weaker than others, it’s because I think that art should never became a production line but to create from the very inside of our guts and have our own path and understand that not everything is good and that we don’t have a constant pressure on creating content every single day. I’m not just a photographer. I’m a postmodern artist and the pollution of images that we live in is something that I’m against of.


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