STATEMENT

 
REALISED THROUGH THE EXPLORATION OF MATERIALS, FORM, LIGHT, SYMBOLS, AND THE MANIPULATION OF SPACE, LIZZY KELSEY'S PRACTICE IS FOUNDED ON A QUESTIONING OF SYSTEMS OF CONTROL AND THE DYNAMICS OF GENDER RELATIONS OPERATING WITHIN INSTITUTIONS, ARCHITECTURE, PUBLIC AND PRIVATE SPACES, RITUAL, AND BELIEF SYSTEMS.

KELSEY INVESTIGATES THE POTENTIALLY OVERPOWERING INFLUENCE OF THESE SYSTEMS THROUGH AN APPROPRIATION OF MINIMALIST AESTHETIC, USING GEOMETRIC MOTIFS TO CREATE TENSIONS IN SPACE. SHE USES VISUAL AND PHYSICAL OBSTACLES TO REPRESENT BOUNDARIES AND GATEWAYS WHICH PLACE THE SPECTATOR IN SPATIAL DILEMMAS, CONFRONTING THEM WITH CHOICES, SEEKING AUTHORIZATION TO TRANSGRESS IMAGINED BARRIERS. THE WORK EXERCISES PSYCHOLOGICAL PERMISSIONS AND RESTRAINTS, EMPHASISING A SENSE OF INCLUSION AND EXCLUSION.

THERE IS A DIALOGUE WITHIN KELSEY'S PRACTICE BETWEEN THE ESTABLISHMENT OF BOUNDARIES TO PRESERVE A SPACE, CREATING AN INACCESSIBLE AND UNATTAINABLE SPHERE, AND IN CONTRAST, TO BREAK DOWN AND TRANSGRESS EXISTING BOUNDARIES IN ORDER TO EXPOSE A SPACE.