Trish Morrissey is an Irish-born artist now based in London, who works in photography, video and audio. In the photography projects seen on her website www.trishmorrissey.com she appears as her own model, in work which I would place in the ‘masquerade’ category as she takes the part of other (often named) people.
In a previous posting, I noted her 2005-2007 series ‘Front’ in which Morrissey switches places with a woman in a beach group. It is interesting that media commentary on the series (e.g. O’Hagan 2013 and Phillips 2013) and online magazines (examples here and here) tend to pick on the same image ‘Hayley Coles, June 17th 2006‘, although perhaps unsurprising as it is the only image embedding Morrissey among a non-caucasian family, thereby making the theme of the series obvious in a single image.
In ‘Front‘, Morrissey selects family groups that have made some sort of encampment, or marked space, on a public beach (she tells us in the series statement (Morrissey s.d.) that the work is about borders and boundaries), approaches them and has herself photographed in the place of one of the female members of the group. She exchanges clothes with her subject and takes her place in a ‘family snap’ photograph, with her subject opening the shutter of a 5×4 view camera. As noted in the series statement, and as quoted by Phillips (2013) the whole process is a 30-minute piece of performance art.
Once they said yes, I set up, which took half an hour. I had to entertain them to keep their attention, and the mood became quite hyper. But it was fun: it had to be fun or why would I do it? (Morrissey quoted by Phillips 2013)
With the possible exception of ‘Hayley Coles‘, viewing a single image in the set is quite unremarkable but in viewing the entire series we realise that Morissey’s face appears as a common factor (the “Where’s Wally” effect again), which causes us to think deeper. Incidentally, we have no information about Hayley Coles’ ethnicity, so maybe the viewer makes an unwarranted assumption (mea culpa as well).
The course notes raise the interesting question, would I agree to taking part in a ‘Front‘ image and if not, why not? I do not know (and it would have to be a family decision); certainly, I would feel very uneasy and that reflects Morrisseys comment that the series is about borders and boundaries. She breaches the implied physical boundary that beach -users place around ‘our spot’ and also the psychological boundary of the family group (Morrissey uses the word ‘cuckoo’ herself). A lot would depend on how entertaining she can be in the half-hour of contact and, as a photographer using 5×4 occasionally myself, I would be interested in her use of the camera.
Another interesting question is whether such a series could be made by a man, and I suspect the answer is no. The approach would go beyond ‘cuckoo’, into ‘lion’ or ‘elephant seal’ territory and might be perceived as an attempt to supplant an alpha male.
Of the other photographic series, ‘The Failed Realist‘ is the only set that I would describe as self-portraiture. Said, in the artist’s statement to be made ‘in collaboration with’ her daughter (then aged 4-5), this is a series of head-shots after the daughter had attempted face-painting with various degrees of success. The series title comes from the psychologist Georges-Henri Luquet’s (1927/2001) description of the developmental phase where the child’s artistic vision exceeds its ability.
In ‘Rose, Irma and the Sandman‘ and ‘Ten People in a Suitcase‘ Morrissey takes the part of real, named people and recreates scenes from (or inspired by) archive photographs. In ‘Seven Years‘, she and her sister (seven years older, hence the series title) recreate the style of family snapshots from the 1970s and 80s. All of these series fall squarely into the ‘masquerades’ category.
Morrissey’s work invites comparison with Nikki S Lee. Both are playing a role for the camera, with the images being shot by an assistant, a collaborator or an innocent bystander. However, there are differences: Lee dons masks and make-up to bolster the illusion, whereas Morrissey (apart from occasional use of wigs) shows us her own face, and Morrissey uses a large-format camera rather than the snapshot cameras preferred by Lee. On a personal level, I prefer the Morrissey images – they give an air of letting the viewer in on the joke.
Morrissey, T. (s.d.) Front: statement [online] Available at <http://www.trishmorrissey.com/works_pages/work-front/statement.html> [Accessed 22/10/2017].
O’Hagan, S (2013) The 10 best … photographic self-portraits [online] Available at <https://www.theguardian.com/culture/2013/mar/23/10-best-photographic-self-portraits> [Accessed 1/10/2017].
Phillips, S. (2013) Trish Morrissey’s best photograph: infiltrating a family on a Kent beach [online] Available at <https://www.theguardian.com/artanddesign/2013/jan/23/trish-morrissey-best-shot> [Accessed 22/10/2017].