Brooke Marrisett, The Graveyard is Crowded, 2021
Twisted sisal, recycled canvas, leather chord, ribbon, embroidery floss, various colours, two and four strand cotton, raffia, paper cores
The Graveyard is Crowded
I find humans to be fluid beings who are constantly shedding their skins. Over the past year trapped in my home due to the pandemic, this became evident to me more than ever before. I was fooled. Tricked into believing that the version of myself I woke up with everyday was someone I admired. Mislead to believe that the bad habits that were slowly dissolving the most important parts of me were something I couldn’t alter. Stuck in such a destructive mindset, I lost
touch with my art practice and therefore myself. I hadn’t known it before but the two are so closely intertwined the loss of one deeply affected the other.
Inspired by Lekythos bottles used in Ancient Greek funeral traditions, this piece is a funerary offering I am gifting to a version of myself I no longer wish to be. Traditionally filled with olive oil, funerary Lekythos vases symbolize an act of departure while also welcoming a new beginning. Through the creation of this project I was able to recognize and accept that I would have to outgrow the skin that was suffocating me in order to give space for someone new to emerge.
Thinking about the anthropomorphization of ceramic vessels in order to establish personal connections with art objects, I translated this idea into my sculpture by implementing the coiling technique shared in both ceramic and fibre practices. Building up the form using malleable, fibre based materials, pushes the connection between the body of the vessel and my own because the piece is given a sense of life as it is manipulated.
Brooke Marrisett is a Ceramic Major in her last year of Undergraduate studies at Concordia University. Growing up in the country and spending the vast majority of her time outdoors, she has always been a silent spectator of the universe; mesmerized by the miniscule details found in nature if one is patient enough to find them. She translates this into her body of work by packing information onto the surface of her sculptures through the use of layering textures in the hopes that her audience will explore the small intricacies and relationships within.