https://www.elizabennett.co.uk/specious-species daily 0.75 2025-09-14 https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546435779742-LRQDYOBK4CFL12QBBUZK/Installation+view2.jpg Specious-Species - Specious-Species - 2018 Tall-Tail, 2018 - Birch branch, pine needles, graphite, latex.Installation, variable dimensions. Interested in how systems of categorization and classification neglect the mutability and specificity of things, Specious-Species, explores questions of embodiment and concerns Processes of transformation which expose the potential of the material medium as an intermediary to the imaginary. Engaging phenomenological experience, resulted in the creation of a set of ad-hoc cyphers and symbols that characterize my way of responding to the everyday things around me as a means of finding creative outcomes that result from a willed desire or inherent sensibility. There is often a desire to resist classification or subvert terms and their meanings in my works. The definition of the word ‘Specious’ is; misleading in appearance, superficially plausible but actually false.Works on display, result from a general questioning about the state of apprehension in relation to something that isn’t immediately knowable, they remain in that moment prior to our asserting ‘it is this or that thing’. The intention expressing itself, is for the cultivation of a sentient engagement with the world. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546435779742-LRQDYOBK4CFL12QBBUZK/Installation+view2.jpg Specious-Species - Specious-Species - 2018 Tall-Tail, 2018 - Birch branch, pine needles, graphite, latex.Installation, variable dimensions. Interested in how systems of categorization and classification neglect the mutability and specificity of things, Specious-Species, explores questions of embodiment and concerns Processes of transformation which expose the potential of the material medium as an intermediary to the imaginary. Engaging phenomenological experience, resulted in the creation of a set of ad-hoc cyphers and symbols that characterize my way of responding to the everyday things around me as a means of finding creative outcomes that result from a willed desire or inherent sensibility. There is often a desire to resist classification or subvert terms and their meanings in my works. The definition of the word ‘Specious’ is; misleading in appearance, superficially plausible but actually false.Works on display, result from a general questioning about the state of apprehension in relation to something that isn’t immediately knowable, they remain in that moment prior to our asserting ‘it is this or that thing’. The intention expressing itself, is for the cultivation of a sentient engagement with the world. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546435764225-EI0CDY9D7IXM1MT3SUZ5/Installation+view1.jpg Specious-Species https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546435796855-8P8XOQI8VD69LQ4S82GY/installation+viewtall..jpg Specious-Species Specious-Species - Installation Shot Tall-Tails 2018 Digital inkjet print, 100% Recycled paper. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546279471601-KFIFWR3FFSHMYYB5JN2C/installation+view0..jpg Specious-Species https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546435753950-U8F8LCTCHUBCYL44G480/installation+view01..jpg Specious-Species https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546279486319-TN2JVZINVML1EQH6ACTW/Faux-foe1.jpg Specious-Species - Faux-Foe, 2018 Pins (brass, gold plated, steel, nickel), velvet, latex. An imitation fox fur pelt. With its title I intended to subvert prescribed notions of the dangerous ‘other’. Per its curation I wanted it to appear, not as an anxious flayed skin or the trophy of its captor - but languid, as though it had been discarded in carefree abandon. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1757854135407-VMUVS624GK5MTNN34FWH/Fauxclose.jpg Specious-Species - Faux-Foe, 2018 Pins (brass, gold plated, steel, nickel), velvet, latex. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546436261397-X677YAHKHVRYVE6HRBL0/Installation+view3.jpg Specious-Species - Specious-Species, 2018 - Woodworm lens Lightbox, acetate print of Phoenician carving of ‘A lioness devouring boy’ Within the light-box is an image of a carved Phoenician 9th-8th Century BC relief, from the palace of Ashurnasirpal II, Nimrud, Northern Iraq. Descriptions of the piece range from; lioness devouring, to lioness mauling a boy…The description doesn’t fit. The boy doesn’t resist, it appears more like a loving embrace, seductive caress, or loving self-sacrifice… https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546447440088-88S77AGN3UC8D999IVSG/photo1.jpg Specious-Species - Specious-Species No.2, Pinhole print - 2018 The relational link between the object being photographed (pin-pelt) and the object capturing the image (pinhole camera), reflects upon musings that the ‘other’ is never truly ‘captured’, only momentarily. No-thing & no-one holds still. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546173437129-08012OOL8IA0SC05FFQP/5.jpg Specious-Species https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546435819154-LU9EYTKXI6A2U92YZLE6/photo2.jpg Specious-Species - Specious-Species No.1 Pinhole print - 2018 https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546691698016-AP4G6E04Q1NHQET6JJUR/installation+viewtall..jpg Specious-Species https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546173514062-U2SXAKTLBXVOPJIFWN0Y/specious-species5.jpg Specious-Species https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546173172829-42FEV9A3PIO9CA1E5JND/Binary+Non%3F+1.JPG Specious-Species https://www.elizabennett.co.uk/speciesspecious daily 0.75 2024-02-12 https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546444951933-4RZ6L27058EXF0YCRL7P/species-specious.jpg Species-Specious Species-Specious, 2018 - Pinhole Prints Questions arising from enquiries into, identity, Instinctive responses and learnt behaviours, led to my use of the recurring motif of fur, focusing on its potential to symbolise an embodied emotional state, by hinting at the intersection between defence and vulnerability. I was inspired to create a fur pelt made of pins, which here I use as a photographic device, enabling a staging of the concepts of social perception and self reflection; the single eye of the pin-hole camera facing the many points that make up the piece, thus engaging considerations about states of apprehension and anxiety in relation to the private individual and social being. The turn of phrase to ‘pin something down’ means to grasp something in its entirety. Use of the pins to form a pelt, left the pins free at their points to dance and quiver and reflect the light, effectively eluding to the complexity of the individual. The pins were also of interest in relation to the use I’ve been making of dressmakers tools as a way of interrogating identities and the ‘signifiers’ we wear as a means of social acceptance, selection and exclusion. “Species was first defined as that which makes visible (or) makes communicable; only later did it become a principle of classification born from the work of identification […] the beautiful appearance of species became sucked up into the work of ordering, management and administration, which goes about its business upon the basis that everything will be referred to as identity.”(Lomax, 2013, p,86) https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546444951933-4RZ6L27058EXF0YCRL7P/species-specious.jpg Species-Specious Species-Specious, 2018 - Pinhole Prints Questions arising from enquiries into, identity, Instinctive responses and learnt behaviours, led to my use of the recurring motif of fur, focusing on its potential to symbolise an embodied emotional state, by hinting at the intersection between defence and vulnerability. I was inspired to create a fur pelt made of pins, which here I use as a photographic device, enabling a staging of the concepts of social perception and self reflection; the single eye of the pin-hole camera facing the many points that make up the piece, thus engaging considerations about states of apprehension and anxiety in relation to the private individual and social being. The turn of phrase to ‘pin something down’ means to grasp something in its entirety. Use of the pins to form a pelt, left the pins free at their points to dance and quiver and reflect the light, effectively eluding to the complexity of the individual. The pins were also of interest in relation to the use I’ve been making of dressmakers tools as a way of interrogating identities and the ‘signifiers’ we wear as a means of social acceptance, selection and exclusion. “Species was first defined as that which makes visible (or) makes communicable; only later did it become a principle of classification born from the work of identification […] the beautiful appearance of species became sucked up into the work of ordering, management and administration, which goes about its business upon the basis that everything will be referred to as identity.”(Lomax, 2013, p,86) https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546692285605-C4YE0L9B2BZ56NFNH5NF/Pinpic3.jpg Species-Specious Species-Specious 2018 Questions arising from enquiries into, identity, Instinctive responses and learnt behaviours, led to my use of the recurring motif of fur, focusing on its potential to symbolise an embodied emotional state, by hinting at the intersection between defence and vulnerability. I was inspired to create a fur pelt made of pins, which here I use as a photographic device, enabling a staging of the concepts of social perception and self reflection; the single eye of the pin-hole camera facing the many points that make up the piece, thus engaging considerations about states of apprehension and anxiety in relation to the private individual and social being. The turn of phrase to ‘pin something down’ means to grasp something in its entirety. Use of the pins to form a pelt, left the pins free at their points to dance and quiver and reflect the light, effectively eluding to the complexity of the individual. The pins were also of interest in relation to the use I’ve been making of dressmakers tools as a way of interrogating identities and the ‘signifiers’ we wear as a means of social acceptance, selection and exclusion. “Species was first defined as that which makes visible (or) makes communicable; only later did it become a principle of classification born from the work of identification […] the beautiful appearance of species became sucked up into the work of ordering, management and administration, which goes about its business upon the basis that everything will be referred to as identity.”(Lomax, 2013, p,86) https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546697356321-O8M04AJ0EVKKQCYO51VO/lux.jpg Species-Specious https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1547229138535-FTLKYED8TGHBA0IZ51E5/Per1..jpg Species-Specious https://www.elizabennett.co.uk/a-womans-work daily 0.75 2025-09-14 https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546277324784-XE6IZ7MMS6W9Y88QM9XD/A+womans+work4.jpg AWW... A Woman’s Work Is Never Done 2012/ 2014, Flesh, thread, digital print. A series of photographic works titled A Woman's Work is Never Done. Using my own hand as a base material, I considered it a canvas upon which I stitched into the top layer of skin using thread to create the appearance of an incredibly work worn hand. By using the technique of embroidery, traditionally employed to represent femininity and applying it to the expression of its opposite, I hoped to challenge the pre-conceived notion that 'women's work' is light and easy. Aiming to represent the effects of hard work arising from employment in low paid 'ancillary' jobs, such as cleaning, caring and catering, all traditionally considered to be 'women's work'. Such work is invisible in the larger society, with 'A woman's work' I aimed to represent it. Commissioned by KODE Art Museums of Bergen and Oslo, to produce a video of the work, to be screened at their exhibition Nalen's Oye, showcasing a collection of artists who employ embroidery as their medium in contemporary art. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546277324784-XE6IZ7MMS6W9Y88QM9XD/A+womans+work4.jpg AWW... A Woman’s Work Is Never Done 2012/ 2014, Flesh, thread, digital print. A series of photographic works titled A Woman's Work is Never Done. Using my own hand as a base material, I considered it a canvas upon which I stitched into the top layer of skin using thread to create the appearance of an incredibly work worn hand. By using the technique of embroidery, traditionally employed to represent femininity and applying it to the expression of its opposite, I hoped to challenge the pre-conceived notion that 'women's work' is light and easy. Aiming to represent the effects of hard work arising from employment in low paid 'ancillary' jobs, such as cleaning, caring and catering, all traditionally considered to be 'women's work'. Such work is invisible in the larger society, with 'A woman's work' I aimed to represent it. Commissioned by KODE Art Museums of Bergen and Oslo, to produce a video of the work, to be screened at their exhibition Nalen's Oye, showcasing a collection of artists who employ embroidery as their medium in contemporary art. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546277324264-NW13Z3HDHQG1MR1L03T6/A+womans+work2.jpg AWW... https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546277385974-Q5IYMQX3VJG9O8MPQUV2/A+womans+work5.jpg AWW... https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546277415073-TG7JMHHZK1I114B2AZQR/AWW2+copy.jpg AWW... https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546277445328-6DDFFH3GHPH0535BGUEM/AWW3+copy.jpg AWW... https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1757696358613-LHCNE1LD8GTKMWU2XUE7/abunder.jpg AWW... - Installation view: Venerische Sterne - Art & Embroidery, Bundner Kunstmuseum, Chur, Switzerland, 2022 https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1757857258508-Y0VFL9XP3RPOPPBQBYCU/Film+still1.jpg AWW... HD video still: A Woman’s Work is Never Done, 2014 https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1757857269941-UTO61HSRBA1KIJEPBZWG/Film+still2.jpg AWW... HD video still: A Woman’s Work is Never Done, 2014 https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1757857281216-JE7PWHD8ZP2743XJUJI2/Film+still+3.jpg AWW... HD video still: A Woman’s Work is Never Done, 2014 https://www.elizabennett.co.uk/hocus-pocus daily 0.75 2025-09-14 https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546434386793-PE3TAD2RE9CR9IKM7LET/Hocpoc00.jpg Hocus pocus - Hocus Pocus - ‘hoc est corpus meum’ 2017 Bible Paper, Charcoal, Graphite, Pins, Pine, Latex, Plaster, Wood, Salt. 122h x 175w x 120d cm What exactly is a hoax? In and of itself the word is rather telling. Via a reference to a magical hocus-pocus (mock Latin) it harkens back to the key phrase of the Catholic Eucharist, hoc est corpus meum “here is my body”. [Michael Marder] Hocus Pocus‘hoc est corpus meum’, focuses on the skin as a device for a wider exploration into ‘being’, acknowledging how clothing forms a protective and communicative skin. Using the recurring motif of fur as an original form of clothing, focusing on its potential to symbolize an embodied emotional state by hinting at the intersection between defence and vulnerability. Here I employ a strategy poised between the artworks material and its conceptual signs, to present a collection of artefacts as cyphers for contemplation about concepts of embodiment, materiality and the sympathetic response as a kind of mimicry. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546434386793-PE3TAD2RE9CR9IKM7LET/Hocpoc00.jpg Hocus pocus - Hocus Pocus - ‘hoc est corpus meum’ 2017 Bible Paper, Charcoal, Graphite, Pins, Pine, Latex, Plaster, Wood, Salt. 122h x 175w x 120d cm What exactly is a hoax? In and of itself the word is rather telling. Via a reference to a magical hocus-pocus (mock Latin) it harkens back to the key phrase of the Catholic Eucharist, hoc est corpus meum “here is my body”. [Michael Marder] Hocus Pocus‘hoc est corpus meum’, focuses on the skin as a device for a wider exploration into ‘being’, acknowledging how clothing forms a protective and communicative skin. Using the recurring motif of fur as an original form of clothing, focusing on its potential to symbolize an embodied emotional state by hinting at the intersection between defence and vulnerability. Here I employ a strategy poised between the artworks material and its conceptual signs, to present a collection of artefacts as cyphers for contemplation about concepts of embodiment, materiality and the sympathetic response as a kind of mimicry. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546434394095-XAZEVH1W59UNBR3O173Z/Hocpoc1..jpg Hocus pocus https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546366582345-2NKXD1ZT89A4R0FSUBV0/Hocpoc7.jpg Hocus pocus https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546434356913-4SCZW0LVQXMNAAOB1PWH/Hocpoc0.jpg Hocus pocus https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546434397988-OH8D9JLCPU4U7SGVRP87/Hocpoc5.jpg Hocus pocus https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546692469609-DKJ85O8ZIVD1P2NVKF0G/Hocpoc2.jpg Hocus pocus https://www.elizabennett.co.uk/coherent-disturbance daily 0.75 2025-09-14 https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546697513416-1CJSWKAV7UEP15VT3UZH/Binary+non%3F.jpg Coherent Disturbance Coherent Disturbance (series) Binary Non? 2018 A compendium of edited scans of computer dictation 'mistranslations' encountered whilst reading Brian Massumi's Parables for The Virtual.What’s left of the original pages, are the page number and the torn post-it note used to mark each area of particular interest. Onto these scanned and edited pages, I pasted the ‘mistakes’ which occurred as I read aloud from the book to my computers dictation option. In Parables for the virtual, Massumi discusses how cultural theorists construct a grid upon which they pinpoint society and its members. He persuasively argues that the virtual gives us a way to move beyond that stultifying way of categorizing and thinking about society and culture which misses the ‘movement’ of lived experience. By providing examples of how the virtual as a creative and imaginary space offers a new way of engaging with the actual, flux, change, evolution and dissolution, which is the ongoing experience of the living. The title; Binary Non? plays with narratives surrounding identity politics and binary/ non-binary discourse. In order to re-complicate the reductionism which occurs in trying to pin-point ‘subjects’. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546697513416-1CJSWKAV7UEP15VT3UZH/Binary+non%3F.jpg Coherent Disturbance Coherent Disturbance (series) Binary Non? 2018 A compendium of edited scans of computer dictation 'mistranslations' encountered whilst reading Brian Massumi's Parables for The Virtual.What’s left of the original pages, are the page number and the torn post-it note used to mark each area of particular interest. Onto these scanned and edited pages, I pasted the ‘mistakes’ which occurred as I read aloud from the book to my computers dictation option. In Parables for the virtual, Massumi discusses how cultural theorists construct a grid upon which they pinpoint society and its members. He persuasively argues that the virtual gives us a way to move beyond that stultifying way of categorizing and thinking about society and culture which misses the ‘movement’ of lived experience. By providing examples of how the virtual as a creative and imaginary space offers a new way of engaging with the actual, flux, change, evolution and dissolution, which is the ongoing experience of the living. The title; Binary Non? plays with narratives surrounding identity politics and binary/ non-binary discourse. In order to re-complicate the reductionism which occurs in trying to pin-point ‘subjects’. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546445870616-2MGOAWLILH8R21AZKB15/BN1.jpg Coherent Disturbance https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546445867579-SGSDKJ8KZD8YMHBABK6M/BN2.jpg Coherent Disturbance https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546446475387-3VN0Q1F8FLJ30IBZIHHX/Binary+non%3F.jpg Coherent Disturbance Coherent Disturbance (series) Binary Non? 2018 A compendium of edited scans of computer dictation 'mistranslations' encountered whilst reading Brian Massumi's Parables for The Virtual.What’s left of the original pages, are the page number and the torn post-it note used to mark each area of particular interest. Onto these scanned and edited pages, I pasted the ‘mistakes’ which occurred as I read aloud from the book to my computers dictation option. In Parables for the virtual, Massumi discusses how cultural theorists construct a grid upon which they pinpoint society and its members. He persuasively argues that the virtual gives us a way to move beyond that stultifying way of categorizing and thinking about society and culture which misses the ‘movement’ of lived experience. By providing examples of how the virtual as a creative and imaginary space offers a new way of engaging with the actual, flux, change, evolution and dissolution, which is the ongoing experience of the living. The title; Binary Non? plays with narratives surrounding identity politics and binary/ non-binary discourse. In order to re-complicate the reductionism which occurs in trying to pin-point ‘subjects’. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546445887595-OL0I6W5RY32LQCAPQF56/BN3.jpg Coherent Disturbance https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546445893945-VAI2JWZ5O96KUPCRB9RS/BN5..jpg Coherent Disturbance https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546445913139-NP4K8NX4AKMTY4CLCW6B/BN6.jpg Coherent Disturbance https://www.elizabennett.co.uk/slowly daily 0.75 2025-09-13 https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546690944664-YVAMMET1SOT5QD6WRVDC/IMG_8418+copy+2.JPG Slowly SLOWLY - Play by Howard Barker, Directed by Zoe Grisedale Sherry Costumes & Props - Eliza Bennett - 2017 SIGN - a suicide. A woman of profound conformity CALF - the subject of an atrocity. A woman of profound conformity PAPER - a willing whore. A woman of profound conformity BELL - a reluctant whore. A woman of profound conformity Four women of nobility, their civilisation at its tumultuous end. Each character grapples with the decision of whether to live a degraded life or die with dignity. I decided not to introduce any particular period for the costumes and keep the focus on the individual women and their predicament. The plain black draped robes would hide their bodies, assisting in their perceived stillness, and at the same time keep the audience focused on hand gesture and features. The script, visually rich in symbol and metaphor, inspired a vision of four hairpieces in the form of nooses, one for each character, of varying length depending on their conviction around the idea of suicide. I hung the hair noose in descending order like that of the players. Within each noose a sound recording of the character’s monologue, sounding like incomprehensible chatter upon approaching, however when encountering each one closely a sense of the individual’s qualities becomes apparent. Their robes laid out on the floor, mark the departed. In front of each is placed the characters related symbol, raised up on black stands with the intention of alluding to their essence living on… "Disappearing in one form, reappearing in another". https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546624874073-N1LVX7GXNVYD8MQTWEFU/DSC_5301+copy+2.jpg Slowly SLOWLY - 2017, Rope, synthetic hair, wool, silk, paper, leather, bone, bell, looped sound recording. A Play written by Howard Barker Directed by Zoe Grisedale Sherry The Crypt Gallery, June 2017. Costume for four female characters: SIGN – a suicide CALF – the subject of an atrocity PAPER – a willing whore BELL – a reluctant whore … “Disappearing in one form – re-appearing in another.” (play quote) The question of the four characters looming demise is the subject of the play. Each character embodies an aspect of human nature, grappling with the decision of whether to live a degraded life or die with dignity. Whilst producing the costumes, I became aware of their value as objects without need of a participant to animate them. I was intrigued by their possible subsequent arrangements. Also, their ability to communicate the mood of the text that inspired their creation. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546690944664-YVAMMET1SOT5QD6WRVDC/IMG_8418+copy+2.JPG Slowly SLOWLY - Play by Howard Barker, Directed by Zoe Grisedale Sherry Costumes & Props - Eliza Bennett - 2017 SIGN - a suicide. A woman of profound conformity CALF - the subject of an atrocity. A woman of profound conformity PAPER - a willing whore. A woman of profound conformity BELL - a reluctant whore. A woman of profound conformity Four women of nobility, their civilisation at its tumultuous end. Each character grapples with the decision of whether to live a degraded life or die with dignity. I decided not to introduce any particular period for the costumes and keep the focus on the individual women and their predicament. The plain black draped robes would hide their bodies, assisting in their perceived stillness, and at the same time keep the audience focused on hand gesture and features. The script, visually rich in symbol and metaphor, inspired a vision of four hairpieces in the form of nooses, one for each character, of varying length depending on their conviction around the idea of suicide. I hung the hair noose in descending order like that of the players. Within each noose a sound recording of the character’s monologue, sounding like incomprehensible chatter upon approaching, however when encountering each one closely a sense of the individual’s qualities becomes apparent. Their robes laid out on the floor, mark the departed. In front of each is placed the characters related symbol, raised up on black stands with the intention of alluding to their essence living on… "Disappearing in one form, reappearing in another". https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546624876082-XU894CW60S1ST9AT1PR1/IMG_0682+copy+2.JPG Slowly - SLOWLY - 2017 A Play written by Howard Barker. Directed by Zoe Grisedale Sherry at The Crypt Gallery, London, June 2017. Image Credit: Andrew S Clydesdale https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546690699503-2XK0QJL5JYZUN4Q7MQFE/IMG_8418+copy+2.JPG Slowly SLOWLY - Play by Howard Barker, Directed by Zoe Grisedale Sherry Costumes & Props - Eliza Bennett - 2017 SIGN - a suicide …………………………………………A woman of profound conformity CALF - the subject of an atrocity………………..A woman of profound conformity PAPER - a willing whore………………………………A woman of profound conformity BELL - a reluctant whore……………………………..A woman of profound conformity Four women of nobility, their civilization at its tumultuous end, debate their situation. Each character grapples with the decision of whether to live a degraded life or die with dignity. ‘A woman of profound conformity’ being the reference given after each character name. I began by thinking of conformity, and historical narratives which define periods of history in terms of social-norms and subversive behaviours. I decided not to introduce any particular period for the costumes, and keep the focus on the individual women and their predicament. The plain black draped robes would hide their bodies, assisting in their perceived stillness, and at the same time keep the audience focused on hand gesture and features. The script, visually rich in symbol and metaphor, inspired a vision of four hairpieces in the form of nooses wrapped in hair, one for each character, of varying length depending on their conviction around the idea of suicide.I hung the hair noose in descending order like that of the players. Within each noose a sound recording of the character’s monologue. Sounding like incomprehensible chatter upon approaching, when encountering each one closely a sense of the individual’s qualities becomes apparent. Their robes are laid out on the floor, marking the departed… In front of each is placed the Characters related symbol, raised up on black stands with the intention of alluding to their essence or message living on… "Disappearing in one form, reappearing in another". https://static1.squarespace.com/static/5c28b99ac258b4b91b7f2d1f/5c2ccb9d03ce64cdbb54e5de/5c2f9f49aa4a99dac4dcaa68/1546624841353/ Slowly https://www.elizabennett.co.uk/too-sensitive daily 0.75 2025-09-14 https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1757853726245-09V56D3ZO2OVBFXKWD59/2.+copy.jpg Too Sensitive - Too Sensitive, 2017 Performer – Anastasia Freygang Too Sensitive, is an experimental idea for a performance with a dress full of pins painted in flesh tones to match that of the dress and performer. I intended the pins to represent goose bumps, which involuntarily develop when a person is cold or experiencing strong emotions such as fear, euphoria or arousal. The sharp points of the pins in the dress face inwards. I asked the performer to shake them out as though ridding herself of anxiety, and something curious revealed itself in this process. In the instance when the dress was full of pins it did not hurt the performer, as the sharpness of the points was displaced by the mass distribution of the pins. It only caused discomfort when many of the pins had fallen out and only a few remained. This led me to consider the relative functions of the many and the one, the individual and the collective, and the ways in which there is a potential destructiveness or constructiveness between these two, depending on the nature of the relationship between them. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1757795667139-G4Z7VS592273WHEZUDL2/Ana.png Too Sensitive https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1757853726245-09V56D3ZO2OVBFXKWD59/2.+copy.jpg Too Sensitive - Too Sensitive, 2017 Performer – Anastasia Freygang Too Sensitive, is an experimental idea for a performance with a dress full of pins painted in flesh tones to match that of the dress and performer. I intended the pins to represent goose bumps, which involuntarily develop when a person is cold or experiencing strong emotions such as fear, euphoria or arousal. The sharp points of the pins in the dress face inwards. I asked the performer to shake them out as though ridding herself of anxiety, and something curious revealed itself in this process. In the instance when the dress was full of pins it did not hurt the performer, as the sharpness of the points was displaced by the mass distribution of the pins. It only caused discomfort when many of the pins had fallen out and only a few remained. This led me to consider the relative functions of the many and the one, the individual and the collective, and the ways in which there is a potential destructiveness or constructiveness between these two, depending on the nature of the relationship between them. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1757695400670-ONN4LGPQZI1UE2PGWNGF/ana4.jpg Too Sensitive https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1757853771046-OJADNPDQDXN0XQPKIT1S/4..jpg Too Sensitive https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1757695422024-HYB5XGNP43VKODN7FLPZ/ana3.jpg Too Sensitive https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1597071540604-8ZE58RG4EUI54DUBAJ4L/Screen+Shot+2020-08-10+at+15.58.00.png Too Sensitive - Too sensitive, 2016 – performance, dress, dress-maker’s pins. Considering the relational factors at play in the formation of a ‘self’ and the skin as an interface between ourselves and the world, Too Sensitive tests out an idea for performance, with a dress full of pins painted in flesh tones to effectively elicit goose bumps, which involuntarily develop when a person is cold or experiencing strong emotions such as fear, euphoria or arousal. The sharp points of the pins face inwards. I asked the wearer to shake them out as though ridding herself of anxiety, and something curious revealed itself in this process. In the instance when the dress was full of pins it did not hurt her, as the sharpness of the points were displaced by their mass distribution. It only caused discomfort when many of the pins had fallen out and a few remained. This compelled me to consider the relative functions of the many and the one, the individual and the collective, and the ways in which there is a potential destructiveness or constructiveness between these two, depending on the nature of the relationship between them. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1757695485756-S36Q0HDY1VNWQY02A2Y8/ana6.jpg Too Sensitive https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1757853843852-Z1GAH8611QU09VQNCG92/1.+copy.jpg Too Sensitive https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1757695495336-Y1E82KRXMH0A1T4O6CVG/ana7.jpg Too Sensitive “I am affected not just by this one other, but by a world in which humans, institutions, and organic and inorganic processes all impress themselves upon this me who is at the outset, susceptible in ways that are radically involuntary. The condition of the possibility of my exploitation presupposes that I am a being in need of support, dependent, given over to an infrastructural world in order to act, requiring an emotional infrastructure to survive.” (J. Butler,2015) https://www.elizabennett.co.uk/room-of-undressing daily 0.75 2025-09-14 https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546692905092-7L7LP1G4KVSSUROJXRYH/soft+escape.jpg Room of Undressing The Room of Undressing (series) 2012-2015 Works inspired by touch, both tangible and emotional. Where the boundary between our physical selves and what is outside of us meets. Encountering the difference between what can be consciously articulated and what must be sensed… https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546441335886-37W3QVFAG3XA8286VSWT/what....jpg Room of Undressing - What has she done with the feeling? 2012-2015 Works inspired by touch, both tangible and emotional. Where the boundary between our physical selves and what is outside of us meets. Encountering the difference between what can be consciously articulated and what must be sensed… https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546692905092-7L7LP1G4KVSSUROJXRYH/soft+escape.jpg Room of Undressing The Room of Undressing (series) 2012-2015 Works inspired by touch, both tangible and emotional. Where the boundary between our physical selves and what is outside of us meets. Encountering the difference between what can be consciously articulated and what must be sensed… https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546444997202-O7Y75C0BANKKSKFQQ665/Too+sensitive1.jpg Room of Undressing https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546441287903-3DHM677FOC28GPDX0TE7/soft+escape+copy.jpg Room of Undressing https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546445003406-PCJ7AVKKYLHPN0MGV7Y0/what%3F.jpg Room of Undressing https://www.elizabennett.co.uk/language-without-words daily 0.75 2022-08-25 https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546441735165-K440306MET3H06OZERXK/ink+blot1.jpg Language Without Words - Language Without Words - 2016 Ink, blotting paper - 27 x 18 cm Exploring the connection between language and gesture. My sources are anonymous, unearthed from inside antique writing boxes and half used writing sets out of house clearances. I was struck by the beauty of these erased ‘mistakes’ (perhaps a record of ‘subliminal excess’ imperceptible even to the writer). https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546441735165-K440306MET3H06OZERXK/ink+blot1.jpg Language Without Words - Language Without Words - 2016 Ink, blotting paper - 27 x 18 cm Exploring the connection between language and gesture. My sources are anonymous, unearthed from inside antique writing boxes and half used writing sets out of house clearances. I was struck by the beauty of these erased ‘mistakes’ (perhaps a record of ‘subliminal excess’ imperceptible even to the writer). https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546441742935-07QPMDRFNSJMJ7E2ZBIE/ink+blot2.jpg Language Without Words https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546441750025-6Y2NFX2BYCXAEU7RD74J/ink+blot3...jpg Language Without Words https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546441755869-6A2UQPS67QFXMWBGP21U/Ink+blot4...jpg Language Without Words https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546441758288-G7T6PRGZEYXRSUREYGVI/Ink+blot5...jpg Language Without Words https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546441764471-RI2LLMFSH3UIKTIC3YWI/Ink+blot6...jpg Language Without Words https://www.elizabennett.co.uk/interior-objects daily 0.75 2025-09-14 https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546693067384-LFRT0PWPT9BKOJYI3CU3/le+grande000.jpg interior Objects - Interior Objects 2011-2013 Focusing on the objectification of the human body resulted in these pieces that represent self containment and a foreboding interiority. I aimed to create works that despite their superficial refinement, are not necessarily pleasant. By applying the technique of deep buttoning, and referencing the style that is characteristic of inanimate furnishings of the Victorian bourgeoisie. I referred to the old and familiar styles from an era of artifice, to represent the body subjected to the same alienating status as inert, lifeless objects. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546693067384-LFRT0PWPT9BKOJYI3CU3/le+grande000.jpg interior Objects - Interior Objects 2011-2013 Focusing on the objectification of the human body resulted in these pieces that represent self containment and a foreboding interiority. I aimed to create works that despite their superficial refinement, are not necessarily pleasant. By applying the technique of deep buttoning, and referencing the style that is characteristic of inanimate furnishings of the Victorian bourgeoisie. I referred to the old and familiar styles from an era of artifice, to represent the body subjected to the same alienating status as inert, lifeless objects. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546441923219-YL56J2DGJSZOIZ04KU6H/Interior+Object+web.jpg interior Objects https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546627534605-5UG7Q67A7GNT5B3C19CQ/le+grande+bourgeois0.jpg interior Objects https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546441925977-OKHDFQFINOEWVQ7SK2WV/Interior+Object1+web.jpg interior Objects https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546441933129-9ZVYX943HLFJGEIR8HE2/interior+objectweb2.jpg interior Objects https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546441947246-BHNIAYPU5R6AUKJH5FTX/pleading+affluenza.jpg interior Objects https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546441948341-IREDJGDV023D2VSAN9LH/pleading+affluenza1.jpg interior Objects https://www.elizabennett.co.uk/blinded-light daily 0.75 2025-09-14 https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1558876669995-MVKWLPVLRT48U0MJNDTO/Blinded3.jpg Blinded Light - Blinded Light - 2019 Sunlight reflected through obscure glass onto a blind in a factory building provided the catalyst for this series of Polaroid’s, in which the materiality and illusion of the photographic process coalesce. Captivated by the hazy insinuating interior image sketched by light, evocative of a seascape… a glowing horizon, and its incongruity with the exterior one of factory buildings and a prison. Subverting the first rule of photography ‘not to point directly into the sun’ I recreated the moment with the work of master renderer of light JMW Turner in mind, adding patches of coloured ink directly to the window. The resulting soft coloured projections onto the blind, obscure the sun’s light and efface the arduous reality outside. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1558876669995-MVKWLPVLRT48U0MJNDTO/Blinded3.jpg Blinded Light - Blinded Light - 2019 Sunlight reflected through obscure glass onto a blind in a factory building provided the catalyst for this series of Polaroid’s, in which the materiality and illusion of the photographic process coalesce. Captivated by the hazy insinuating interior image sketched by light, evocative of a seascape… a glowing horizon, and its incongruity with the exterior one of factory buildings and a prison. Subverting the first rule of photography ‘not to point directly into the sun’ I recreated the moment with the work of master renderer of light JMW Turner in mind, adding patches of coloured ink directly to the window. The resulting soft coloured projections onto the blind, obscure the sun’s light and efface the arduous reality outside. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1558877744186-CJII1RD6YYSIAGB3IXZL/Blinded1.jpg Blinded Light https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1558876581733-F4YMX470EKPIHC9V3TRL/Blinded2.jpg Blinded Light https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1558876858964-US5W1JBUL5PS878A8QWZ/Blinded10.jpg Blinded Light https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1558876883571-SUI83NAMX956OOZPALBI/Blinded11.jpg Blinded Light https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1558876883690-V9Q8LCNYWL1DGU4PDDGU/Blinded12.jpg Blinded Light https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1558876714116-YKYDNEN78HMDT6IC8GN5/Blinded5.jpg Blinded Light https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1558876744160-UG0W9BVGZ0I9YGI2ACAV/Blinded6.jpg Blinded Light https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1558876672753-UQP1LOQ73LNVWAJRBOTZ/Blinded4.jpg Blinded Light https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1558876776310-YBQ1BUGV1C4YD8UOGBO6/Blinded7.jpg Blinded Light https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1558876783575-B42BYIT79F2HKQVJ1LQJ/Blinded8.jpg Blinded Light https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1558876835670-N7OQ6QSZ16U87ZQFA7I6/Blinded9.jpg Blinded Light https://www.elizabennett.co.uk/yield daily 0.75 2025-09-14 https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1570357936364-9T82FMQ0BLJXPFNUBVZ9/00...jpg Yield - Yield 2019 Passage - 200 x 13cm. Install shot: Curated by Julie Bentley Works presented engage New-Materialist propositions, that displace our preoccupation with the centrality of human agency and the determinations of language, and invite us to consider the affective character of the worlds in which we are enmeshed. What arise, are propositions of ways of reading and viewing that are attuned to emergence and loss in an attempt to find ways to communicate what is absolutely essential, but escapes definition. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1570357936364-9T82FMQ0BLJXPFNUBVZ9/00...jpg Yield - Yield 2019 Passage - 200 x 13cm. Install shot: Curated by Julie Bentley Works presented engage New-Materialist propositions, that displace our preoccupation with the centrality of human agency and the determinations of language, and invite us to consider the affective character of the worlds in which we are enmeshed. What arise, are propositions of ways of reading and viewing that are attuned to emergence and loss in an attempt to find ways to communicate what is absolutely essential, but escapes definition. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1570358952658-TOJCK1CQLZ75DET93R2T/0.7.jpg Yield https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1570299278729-W20RI4SNTCLN0NIVHGB3/1.jpg Yield https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1570299309198-V9GEK2BLHQCI0MU75GYS/4.jpg Yield https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1570358698810-P8PE2KH2BZCN52UN0HI1/9.jpg Yield - Deeds and Sufferings of Light, 2019 Install shot - Books, Hahnemuhle hot pressed acid free paper, Dye based inks. 175 x 13 cm. Custom made mantle. The title invokes Goethe’s alluring quote in which “colours are the deeds and sufferings of light” - inspiring a spectrum of book covers painted with non lightfast inks. We encounter the work as an alignment of book spines, dulled and faded from exposure. But upon closer inspection a tacit proposition of charged encounters appears and the covers facing one-another reveal their true colours. Glowing in intimate blushes, or clashing in up-front confrontations, they yield their bright intensities. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1570358960605-HMNMLZAYKSQ5JTVCTPWM/7.jpg Yield https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1570299453321-OKO0HJ2TN9FSZC09KGK3/8.jpg Yield https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1570357866455-JT9GY48KXPL1LMPSAFDY/001.jpg Yield - Light Streams, 2019 HD Video, Running time: 02:40 min “Blue is illuminated darkness, Yellow, darkened light” - Johann Von Goethe https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1570357872458-9PQZCS43GF6702KEFIP5/002.jpg Yield https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1570358248421-FUEWO7BV2EFJR1W74M4N/003.jpg Yield https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1570358262592-WAZOGHUUXW3K4B0YHG7G/004.jpg Yield https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1570358268593-IIS6YHM15XS5JZSFEHU8/005.jpg Yield https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1570358273772-61UE9UGLFQJ5CZACPHM4/006.jpg Yield https://www.elizabennett.co.uk/prayer-mat daily 0.75 2024-02-12 https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1661364847577-6TRM2EJWPO61QGHALOQM/Edit+1.JPG Prayer Mat https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1661364847577-6TRM2EJWPO61QGHALOQM/Edit+1.JPG Prayer Mat https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1661366166073-N34P24MG7HRDHTG6FSB4/EDIT1.JPG Prayer Mat - Prayer Mat, 2022 - Pine needles, bronze powder, tread & steel. 125 x 75 x 35 cm A sacred threshold… The levitating material ground rises up to meet us. Needles poised in suspense await the multiple threads of our prayers, ready to make amends, to stitch into the ground, to make fertile the earth. And what of our steps? In what spirit do we tread? With what wish, what gift, what seed, will our fertile bodies at their time of passing nourish the earth? https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1707732106161-F3U1RDQPJ7IWYGVI4UUZ/Mat+7.jpg Prayer Mat https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1707732122074-RWBNEPY2AQ43ODYYLT00/Mat+2.jpg Prayer Mat https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1707732164700-ZXO84QF8A5WLBGOAM86G/Mat+6.jpg Prayer Mat https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1707732146655-JMANTJR516HR7GGY8H5J/Mat+9.jpg Prayer Mat https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1707732172799-XSI1NSVEQ3X2DNP8VH0N/Mat+4.jpg Prayer Mat https://www.elizabennett.co.uk/meremer daily 1.0 2025-09-14 https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1757695888948-9S8XDTJBORQAGU1GXB63/pool.jpg Mere-Mer - Mere-Mer ‘Ink-lings’ 2021- Ongoing Material Actants: Blackmere water, Atlantic Ocean, Ink, glass, sand, peat, salt, steel, tin, copper, photographic paper… This ongoing body of work originates in the landscape of the Staffordshire Moorlands, at the height of the global pandemic. It combines an imaginative interaction with local myth, mermaid folklore and the writings of Astrida Neimanis; interweaving traces of situated and displaced histories within the active materiality of land and cosmos. The works result from an exchange between myself and the mythical land-locked mermaid of Blackmere. Our collaboration presents a speculative fiction which casts their watery body as gestational entity and universal element present in all living beings - on a journey from land to sea. My artistic apparatus captures the residue of evaporation upon the stable ground of the glass plate (itself a manufactured sand-body) poised upon the less stable sand of the shore. The images that unfold through these various states, reveal the interactions of the elemental materials articulating their fluid sensibility and ever-present becomingness. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1757695888948-9S8XDTJBORQAGU1GXB63/pool.jpg Mere-Mer - Mere-Mer ‘Ink-lings’ 2021- Ongoing Material Actants: Blackmere water, Atlantic Ocean, Ink, glass, sand, peat, salt, steel, tin, copper, photographic paper… This ongoing body of work originates in the landscape of the Staffordshire Moorlands, at the height of the global pandemic. It combines an imaginative interaction with local myth, mermaid folklore and the writings of Astrida Neimanis; interweaving traces of situated and displaced histories within the active materiality of land and cosmos. The works result from an exchange between myself and the mythical land-locked mermaid of Blackmere. Our collaboration presents a speculative fiction which casts their watery body as gestational entity and universal element present in all living beings - on a journey from land to sea. My artistic apparatus captures the residue of evaporation upon the stable ground of the glass plate (itself a manufactured sand-body) poised upon the less stable sand of the shore. The images that unfold through these various states, reveal the interactions of the elemental materials articulating their fluid sensibility and ever-present becomingness. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1707734293708-IPLJRZ5LGXFUOUZPXRR7/Mer+1.jpg Mere-Mer https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1707734235118-7NBJMEPQ4KW8N2DJ4RAD/Mer2.jpg Mere-Mer Material Actants: Blackmere water, Atlantic Ocean, Ink, glass, sand, peat, salt, steel, tin, copper, photographic paper… https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1707735779322-QJOXQ5GFI0ZM0R7MI5EW/Mer11.jpg Mere-Mer https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1707734438669-BB2T86JZDBYTINIC9ZG3/Mer7.jpg Mere-Mer https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1707734332116-KBNFDAROI0L1UPSFSJ0L/Mer9.jpg Mere-Mer https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1757855654749-F76R9EK6AS2UXL390DJK/Inkling+beach.jpg Mere-Mer https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1757697970948-4H3NZEWZ2I18PJUSV9PX/Mere-mer3.jpg Mere-Mer https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1757855688758-P0ZKVICXYVU5P09I6NYV/Mere-mer1.jpg Mere-Mer https://www.elizabennett.co.uk/tail-tellers daily 0.75 2025-09-14 https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1757696525253-SN0PPZRKEZJCBMA1A07V/Tail-Tellers.jpg Tail Teller's - Tail-Tellers, 2023 Materials: Birch branch, Pine needles, Cotton thread, Pine resin, Charcoal, Beeswax, Bronze powder, Shellac. Dimensions: 120h x 24d x 28w cm (approx.) Referencing ancient practices interpreting prophecies from nature, Tail-Teller’s responds to the proposition; How might we artfully give voice to non-human-beings and landscapes? It is a work that engages with attuned listening toward interspecies communication, and the proposition of rethinking the narratives we live by to nurture ecologically minded futures. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1757696525253-SN0PPZRKEZJCBMA1A07V/Tail-Tellers.jpg Tail Teller's - Tail-Tellers, 2023 Materials: Birch branch, Pine needles, Cotton thread, Pine resin, Charcoal, Beeswax, Bronze powder, Shellac. Dimensions: 120h x 24d x 28w cm (approx.) Referencing ancient practices interpreting prophecies from nature, Tail-Teller’s responds to the proposition; How might we artfully give voice to non-human-beings and landscapes? It is a work that engages with attuned listening toward interspecies communication, and the proposition of rethinking the narratives we live by to nurture ecologically minded futures. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1757696526509-CF2X3BJ1FN56XS50TC2L/Tail-Tellers2.jpg Tail Teller's https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1757696527334-XTYZ8P3B2SO7D97SHWON/Tail-Tellers3.jpg Tail Teller's https://www.elizabennett.co.uk/read-me daily 0.75 2026-01-08 https://www.elizabennett.co.uk/contact daily 0.75 2024-02-12 https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1546434110518-6VL60G8ICX4UAKGRH9L9/info.jpg Contact https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/3914c2f2-8671-424f-962e-d53b9321fa58/Screen+Shot+2022-08-25+at+19.28.06.png Contact - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.elizabennett.co.uk/new-page-1 daily 0.75 2019-01-05 https://www.elizabennett.co.uk/dialogue daily 0.75 2026-01-08 https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/dd8325f5-1cf2-4508-8fe1-21a5508dfb8b/Yield+2.jpg Dialogue - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/4f8ef2a4-1df3-4963-9247-d978f01f8708/Screenshot+2024-02-24+at+12.03.51.png Dialogue - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/a10da627-da9c-445a-b88b-2eb1f48fbbba/Screenshot+2024-02-24+at+11.33.06.png Dialogue - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/1268869d-1ed9-4f69-bb93-fabeb6eb6135/Screenshot+2024-02-24+at+12.04.42.png Dialogue - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5c28b99ac258b4b91b7f2d1f/baa525c0-5e5a-4213-8904-ec0f9a1b5639/Screenshot+2024-02-24+at+12.04.14.png Dialogue - Make it stand out Whatever it is, the way you tell your story online can make all the difference.