Embracing the Beauty & Melancholia: Discussing "I Will Destroy You." with Lilly McElroy
Art students and Studios Inc fall interns Laney (Lingzhi) Yuan and Hannah Finnan recently sat down with lens-based artist Lilly McElroy for a chat about her current exhibit “I Will Destroy You.” Hannah and Laney also had a strong hand in assisting McElroy in installation for the exhibition as part of their participation in our internship program. Read their Q&A with McElroy as well as their personal reviews of the exhibition below.
”I Will Destroy You.” closes this Saturday, October 21st, at 4pm.
“Within the Void”: A discussion with Lily McElroy
by Hannah Finnan, Studios Inc Fall Intern
We recently had a chance to sit down with Lilly Mcelroy to discuss her current solo exhibition, “ I Will Destroy You.” This body of work focuses on the inevitable and the feelings that accompany the wait for the end, it is a shift away from stability. As its subject, or rather the lack thereof, the sun is physically removed from the photographs through the physical act of scratching it away which in turn births something new. Instead of acting as this beacon of light, the sun becomes an ominous black threat in the sky. At its core, the exhibition juxtaposes the beauty of the photographs with the violent destruction taking place within them. This destruction is what makes the viewers think and sit with the work as without the alterations the photographs are beautiful but do not require much from the viewer. The centerpiece of the exhibition is especially effective. “ The Monolith” stands 10 feet tall and 14 feet wide in the center of the gallery, imposing on the viewers. The front of the piece is a grid of 42 silver gelatin prints and the back, an encompassing black void. It is a disruption not only of the imagery it portrays, but of communication as well as the video work of the shows namesake is displayed on monitors in two opposite corners of the gallery. They attempt to communicate with each other but ultimately fail as they are interrupted by “ The Monolith.” They become solitary experiences, which is how the work is intended to be viewed. As Lilly stated in our interview, “Maybe that is because the feelings of melancholy and dread that they provoke can't be shared. You are alone with those thoughts and feelings even if you are standing next to someone.” But all hope is not lost as although the works main focus is destruction and a loss of light, by creating these ominous black orbs something new is birthed. The work begs the viewer to ask, “ What is on the other side of the void?” and with that a potential new world is created. We finished the interview by asking Lilly, “ What's next?” which excitingly she responded with new forms of destruction and the potential of the hole or void to grow larger.
A Q&A with Artist Lilly McElroy and Studios Inc Intern Laney (Lingzhi) Yuan
Q: The sun is described as a dark orb in your monolithic works. What does this transformation of the sun symbolize, and how does it relate to the overall atmosphere of your exhibition?
A: It is a shift away from stability and safety. The sun, this constant celestial body that makes life possible, has gone dark and no longer emits energy. Instead there is an orb that signifies an imminent threat. This is the core concept of the exhibition.
Q: The statement mentions that the altered landscape creates a sense of isolation and silence. Can you elaborate on the emotional impact you aim to convey through this isolation, and how it relates to the viewer's experience?
A: For me, the experience of looking at these images is a solitary one. Maybe that is because the feelings of melancholy and dread that they provoke can't be shared. You are alone with those thoughts and feelings even if you are standing next to someone.
Q: Your work involves both destructive acts on the negatives and the creation of new images. Can you discuss the interplay between destruction and creation in your artistic process and what it represents?
A: These destructive acts are a way for me to insert meaning into the work and disrupt be placid beauty of the photographs. Without the physical alterations, the pictures are pretty but don't require anything from the viewer or elicit that feeling of dread. In this instance, one could say that destruction creates meaning.
Q: The description of the darkroom and the chemical transformation of images is intriguing. How does the chemical process of photography symbolize or enhance the themes of change, violence, or irrevocable shifts in your work?
A: At its core photography is about light; whether it is light moving through a lens and striking film or light moving through a negative and hitting paper in the darkroom. There is a certain transformative violence in that, but the irrevocable shifts come with the physical alteration of the negatives. The tearing and gouging causes damage that can't be taken back.
Q: Is there a deliberate choice in the locations all being near water or in warmer climates? Why is the Monolith the exception?
A: There is a variety of type of landscape. It felt necessary to include the ocean and lakes in addition to mountains as water brings another level of beauty in the images. The monolith serves as a portal to the otherside with the black backside, but theres still things on the other side. The question is whats behind the void, whats on the other side?
Q: What is the thought process behind the naming of the works?
A: The naming reflects the ambiguity of the destruction: is it the sun or nature destroying us, or are we destroying nature?
Q: Does the sun in your hand on the monitor imagaes signify something hopeful?
A: It is a more optimistic read, that act of communication and using the light to communicate.
Q: Are the monitors meant to communicate with each other?
A: Yes, but it is a largely failed communication because they are blocked with the monolith.
Q: The statement mentions that the viewer can only hear the sounds of their own breath in front of your works. How do you use silence as an artistic element, and what emotions or thoughts do you hope it evokes in the viewer?
A: Photographs are inherently silent; they are frozen moments in time. These particular photographs contain this moment of imminent danger. The kind that would freeze you in your tracks, leave you speechless, and make you aware of your own physical form. I'm hoping that this evokes a feeling of melancholy in the viewer, while giving them something pretty to look at.
Experiencing this exhibition, I'm deeply moved by McElroy’s exploration of transformation and the inevitability of change. The alteration of the sun’s image creates a powerful and emotional landscape. This exhibition invites reflection on the fragility of time and the irreversible nature of certain actions. The photographs convey a silent vibe with a grotesque depth, making me confront my own mortality. Overall, the show leaves me with a lasting impression of beauty and melancholy.
- Laney (Lingzhi) Yuan