My interdisciplinary practice holds drawing, clay and writing at its core, operating as modes of storytelling that tease at the uncanny peripheries of horror and their relationship to boundaries and control. Hoovers that sing, embalmed flies or swollen hands confront the complexities of intimacy in their mingling of tenderness and violence. I imagine ‘world fracturing’ as a methodology to mix mundane, fantastical and paranoid into psychological scenes that question the stability of reality and sanity, particularly within domestic contexts.  

Informed by micro-performativity and Stacey Alaimo’s transcorporeality, the porous and active nature of the seemingly passive and minute is being exposed, contributing to a democratisation of matter and destabilisation of human superiority. Within this context, I explore the uncanny as accessed not through the vast or shocking but the minute and commonplace, leading to softer instances between bodies and objects both treated as volatile membranes.

Mariette Moor (b. 1993) lives and works in London, having graduated from The Ruskin School of Art, Oxford University (2016) and Goldsmiths, University of London (2022). 

Selected shows: Dumping Ground, Hypha HQ, London (2024), Drawing Room Biennial, London (2024), As Small As Eyes, Bloc Projects, Sheffield (2024); Radio Silence, Split Gallery, London (2023), Babele, Studio Musa, Turin (2023); Her performance is taking place at the beginning and end of the world, The Art House, Wakefield (2023), A Handful of Sinister Scenarios, Florence Trust, London (2022). 

Selected awards: Junior Fellowship, Goldsmiths (2022); Gilbert Bayes Award (2022); I-Park Foundation Residency, Connecticut (2018); Vivien Leigh Drawing Prize, Ashmolean Museum (2016); Sir William Dunn Award, Oxford School of Pathology (2016).