Mines, ties and felt-tip pens take on subversive new meanings in the films of the Turner-winning artist. She talks about hidden trauma, ‘horrible’ language – and what the Covid crisis has revealed
In 2016, Elizabeth Price curated an ethereal, elusive exhibition called In a Dream You Found a Way to Survive and You Were Full of Joy. She chose work that was particular to her, close to her heart. On one level, it was about the idea of the horizontal. It was full of recumbent sculptures, queues, processions, dances, snowdrifts, ribbons, and flags. At the same time, it was infused with thoughts of sleep, dreams and death.
“I was drawing on connections I’d been putting together over years and years, things that had been formative,” says the artist. “It was a view of what art can be, or what my relationship with art is.” Her latest exhibition, by contrast, has at its heart the idea of the vertical. For Slow Dans, a trilogy of multiscreen video works, she flipped the projector. Visitors to the large 19th-century assembly hall in which the show unfolds will see works on long, thin screens, 3 metres tall by 1.5 metres wide.
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