Tissu Ciré is an ongoing study into creating abject, visceral painterly objects that are reminiscent of skin. In the context of the living human body and the cosmetics industry, skin is thought of in a wholesome, positive way and the vocabulary is itself rooted in notions of the artistic process - beauty, silk, soft, smooth, porcelain, nude. These studies subvert this by making literal silk skins that are painted and are encased in visceral substances such as wax. Once removed from the context of the living human body, skin is repulsive. Fleshy folds, once erotic, are now objects of abjection.

Tissu Ciré

(m)Other tracks the progression of 2 living/dying works. In this series, I use a Jun mother (a flesh-like bacterial & yeast culture used to create a fermented drink) - a living support  - to create slimy, fleshy, circular objects which subsequently shrivel and darken over a period of a few days as they enter a state of suspended life and eventually die.  

(m)Other

Vessels looks at fecundity and the intrinsic connection between destruction and creation. Hand-sized fleshy vessels imprinted with earth and roots explode to become new works. The grave and the womb; the vessels of our formation and of our demise. The soil of the grave gives birth to new life. Dead wombs are filled with seeds of potential, left to rot.

Vessels (/FeCunt)

This project aims to evoke feelings of the uncanny and Abjection in the viewer. The first element of the project confronts the viewer with fleshy, almost-human objects located in real spaces are confusing and disturbing; what is it? why is it there? what has happened? Is this matter the cast-off of death or of birth?
The second element addresses more the notions of Promethean creation and artistic motherhood; collage of skin-objects that seem to have had death rather than life breathed into them; a patchwork of mould, folds of fabric flesh, and crisp waxy skin. 

Ma(t)ter

"She was a sleeping beauty who could never die because she had never lived"

She is a series exploring the physicality of materials and the creative process. Objects that echo human female figures but aren't quite real, aren't quite representative. Objects enrobed in skin-like fabric, encased in dripping wax. A suggestion of memorialized flesh that can't be remembered because it never existed.

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Jacintha Murphy

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