M(O)USINGS then, is a contemporary riff on Julia's earlier concerns - a play of the transcendent alongside the utterly mundane. Dog and God may not be far apart, and M(O)USING O9, the gilded one, makes this point absolutely. It is both precious and beautiful, right? The big framed photograph takes this quirky relationship of beauty and the everyday a step further. We stand before doggy doo blown up large above a soft looking hemispherical cheek, which has been brushed lightly with Madame's blush. All is tasteful elegance and handsomely framed.
Mouse's efforts, apart from a thin coat of polyurethane remain unmodified. Their modeling therefore is random, crimped and shapely. Biomorphic perhaps. And in this latter regard, they recall Morison's rendering of insulation foam in
Angels and Flies (2002), along with the playful organic forms of
No Names For Things No String For (2003). In other words, while M(O)USINGS takes us closer to the veterinary laboratory than we might ever have been before, it is familiar territory for Morison. Mouse asks us to play with the aesthetics of anthropomorphism. The works are as always, provocative, thoughtful and stylish. Welcome back Julia. And thank you Mouse.
Details of works
M(O)USINGS 01-10, 2012
doggie doos & Madame's blush in glass vitrines
approx 150 x 70mm
Large framed print, 2012
one available of each M(O)USING
photograph on rag paper
1170 x 680mm framed
Small framed print, 2012
ten available of each M(O)USING
photograph on rag paper
370 x 230mm framed
Catalogues, signed & numbered
edition of 50