marisa müsing

Really pleased to share that my short film GUI (Gooey) has been selected to screen at this year’s State of Fashion Biennale @stateoffashionnl in Arnhem, the Netherlands! Curated by lovely and talented friends @annezzzzzz @world_of_shanu and @vandriel_marinkovic_luo As internet culture accelerates through AI slop, hyperproduction, and volatile visual trends, we enter an age of digital sliminess. GUI (Gooey) is a speculative film that reimagines this condition through a contemporary mythology of “office sirens” trapped within a liminal corporate landscape constructed from paper. Through choreographed movement, their bodies and environment are slowly overtaken by slime, visualising the entanglement of digital desire, labour, and ecological extraction. Referencing ASMR aesthetics and the hidden infrastructures of data centres that are coagulating our waterways, slime becomes a counter-visual language to critically reframe how digital cultures are currently produced, consumed, and embodied. Filmed at the beginning of the year in Toronto with friends, thank you for bringing this idea to reality! @jeffsojeffso @lou__roses @warehost @andreyaklobucar Music by more eaze @more_eaze & Kaho Matsui @babykaho1

I see myself in her (2025) Part of the project “meet me by the pixel stream” in collaboration with artist and glassblower Grace Wardlaw, the piece imagines a watery-digital world for dreaming and queer love. Inspired by the sapphic poem “Goblin Market” by Christina Rossetti from 1862, the work takes elements of fantasy and desire to imagine another realm for escapist play and pleasure. Here, a magnified glass dew drop is nestled atop an aluminium milkweed pod, as you peer in a wet world unfolds filled with glitching fruit and sinking bodies. A face peers back at you, inviting you in. Exhibited at @xpacecc for the group show “i want you to see this” in 2025. Cast aluminium, glass, iPhone, digital film looping (7 min)

Flora in Alloy positions the exhibition in a space of material and symbolic hybridisation where forms exist in a continuous process of becoming. An alloy is never a singular material but rather a merging of relational elements, altering each component while traces of their origins remain. Similarly, the works within the exhibition occupy the shifting space between organic growth and constructed form. Here, hybridised flora and metaphytic studies form new living morphologies through sculpture. The work of Charlotte Moore and Marisa Müsing merges mediums, unsettling the boundary between two disparate materials: unglazed stoneware ceramic, and brassed steel and bronze. Employing the surrealist technique of the Exquisite Corpse Game, Müsing and Moore develop a honeyed dialogue between these mediums. The result is a narrative in which synthesised otherness shimmers and transforms between the raw earthen nature of clay and the artificial sleekness of metal. These morphologies evoke delicate, composite networks in constant evolution, transporting us into the uncanny imaginative world in author Mercè Rodoreda’s novel Journeys and Flowers, to which the artists pay homage. Rodoreda’s writing describes resilient flowers charged with symbolic force and magical realism, imbued with fragility, memory and survival. Within her text, nature – and in particular the plant world – becomes a vivid site of intoxicating ultra-enchantment and oneiric transformation through which personal trauma is reconfigured. Müsing and Moore’s flowers inhabit this same imaginative yet darkening tension, where dreamlike forms arise from embedded narratives. By sculpting unexpected encounters, the exhibition relays not simply a fabulated image of our natural world, but an image-world that is vibrant, precariously balanced and relational. Come join us at our very first Duo show! Featured artists: @marisamusing @charlotte.l.moore 📆 19 - 23 May (12 - 6PM daily) 📍65A Charlotte Street, W1T 4PQ 🥂Opening: 18 May, 6 - 9PM 🎙️Artist Talk: 23 May, 2PM Supported by: @enlematcha 🍵 Poster by Amabelle Chandra

Hair holds memories, character analysis Made in Blender, 2023-36

Hair holds memories (2023-26) On letting go of relationships we still hold onto the mementos that tie us to the past. I wanted to make this piece inspired by the beautiful hair in the Japanese animated film “Angel’s Egg” from 1985. In moments of change I tend to cut my hair, this piece is a reflection of the experience one goes through after a breakup, still tying yourself to broken memories through love letters, ticket stubs, and trinkets. This project was something I started back in 2023 and only now have I had time to return to it. Made in Blender, characters in image fictionalised using an early model of OpenAI image generation, not based on real people. #blender #blenderrending #hair #digitaltwin #blenderart

C’est la dernier jour pour voir l’expo Planaomai à galerie espace temps @espacetemps.art avec curatrice @dada_gnecchi 🫧🐚🌬️🥚🎐 Images of the collaborative work created by myself and ceramicist Charlotte Moore, inspired by fictional botanies of Mercè Rodoreda we imagined speculative plant forms that foreground moments of intimacy through embrace, enclosure and entanglement. Working between ceramic and bronze casts the sculptural flora engage in material gestures of fragility and resistance while also evoking new interdependent morphologies. Pictured in images are the two Dead Flowers (inspired by the ‘Dead Flower’ short prose in Rodoreda’s text from Journeys and Flowers): Somewhere in the world the Dead Flower is to be found. Covered in salt stars, time has dried her out, tall and empty, her leaves extended. A crazy springtime blew a seed on her, and the seed produced a plant, and the plant flowered with wretched flowers — a golden snowdrop, a honeyed foxglove or a yellow monkey flower, all of them consumed in the end by the salt stars. In the jumble of her roots the earth is grey, mixed with sand and pierced shells. From one leaf to another, the rain spider spins her web, weaving and weaving, night and day, tripping in the creases, yarning over, three stitches to the left, now a back loop, now a front loop, if the wind tangles it, I start again, and to make it thick I weave and weave, turn around, three chain stitches, it comes apart up above, has to be tied, I smooth out the sheet . . . I weave the blanket and wait, mouth watering, for the blind moth with honeycomb wings that comes flying by . . . First Dead Flower, 2026, ceramic, bronze, 500x230mm Second Dead Flower, 2026, ceramic, bronze, 400x150mm

Exquisite Flora (5 min) Film presented alongside our recent exhibition Planaomi at Espace Temps gallery in Paris. On until April 9 @espacetemps.art Distorted scanography of plants and butterfly wings drift across a black field, where botanical forms touch, part and reassemble through distortion, opening microscopic portals of pressed petals and wings. Guided by Mercè Rodoreda’s True Flowers, the work forms a magical-realist florilegium of delicate collisions – plant, animal, and fiction entangling in soft, unstable proximities. Resisting the digital Myxocene blur of slop-generated morphologies, it lingers on intentional, intricate connections and intertwinings, attending to the quiet ways worlds are built when systems meet, brush, and pull apart. Music credits to the incredible Betty C Fan (@bettycfan ) for composing a beautiful earthy bug world track for the piece, and additional cinematography effects from the ever talented Esmé Moore (@esmedmoore ) where we played with floral reflections through reeded glass. Scanography, microscopic film and video works created my Charlotte Moore and Marisa Müsing.

Views from the exhibition opening at @espacetemps.art gallery in Paris for the group show Planaomai curated by @dada_gnecchi On display are the Water Flower, Mean Flower and the film Exquisite Flowers, all made at the beginning of this year (2026). The work was heavily inspired by an archival research we developed on intimate connections found in nature. The archive gathered instances of living bodies drawn together by need and desire. How they brace one another, how they shelter and bind, support, hold, enclose, how they entwine in moments both tender and fraught. In these encounters, intricate connections reveal recurring patterns of contact, enclosure and temporal assemblage. By bringing these moments together, this archive aids in recognising the ways in which bodies assemble, not as fixed forms, but as temporary configurations shaped by use, circumstance and mutual presence. Present in images are the sculptures found in the cave space of the gallery Espace Temps, sculptures made collaboratively between Marisa Müsing and Charlotte Moore from steel, brass, bronze and ceramic.

All of the making that goes behind metal work. I’m so grateful for the tricks and techniques I’ve been able to learn from @rca.metal over the past few years to get to this stage of confidence and excitement with metal work, it’s truly such a passion for me and beautiful process. The sculptures made for @espacetemps.art were all using new techniques and learning quite quickly how to construct everything together. Hope you can enjoy some quick behind the scenes of some parts of the process. Video clips of hammering, forging, shaping on the English wheel and brass finishing steel. Process work for the exhibition Planaomi now on at @espacetemps.art in Paris. Work developed in collaboration with @charlotte.l.moore 🦋

‘All the benefit from so much drinking was for the plant. Nothing for the flowers. Only the hard work, a little coolness inside, and a blue cemetery.’ From ‘True Flowers’ by Mercè Rodoreda, 1980 This week we opened the group show _Planomai_ at espace temps gallery in Paris. The pieces inspired by excerpts from Mercè Rodoreda’s fictional flowers were collectively sculpted out of metal and ceramic, highlighting the strange and alien intertwining connections of plant life. Imagining new flora during an era of digital collapse and ecological drought, these sculptural flowers weep, pierce and long for new worlds. Water Flower (2026) metal, brass, ceramic, bronze casts By Marisa Müsing and Charlotte Moore

[PLANAOMAI] 🗓️Du 19 février au 9 avril 2026 📍espace temps, 98 rue quincampoix, 75003 Paris 🥂Vernissage le 19 février à partir de 18h ‘Planaomai’ signifie ‘errer, se perdre’ en grec ancien. Aujourd’hui, dans un monde en perpétuel changement, il nous arrive parfois de nous égarer. Cette exposition trace doucement ces moments fragiles, à travers le prisme des plantes. Pendant la durée de l’exposition, espace temps se transforme en un jardin et vous invite à découvrir quatre univers. Quatre artistes : Fang Xu, Aung Ko, Marisa Müsing et Charlotte Moore. Découvrez les vies qui respirent dans leur univers, chacune à leur manière. ‘Planaomai’ means ‘to wander, to get lost’ in Ancient Greek. Today, in a world of constant change, we sometimes lose our way. This exhibition traces these fragile moments through the lens of plants. During the exhibition, espace temps transforms into a garden and invites you to explore four unique worlds. Four artists: Fang Xu, Aung Ko, Marisa Müsing, and Charlotte Moore. Discover the lives that breathe within their universes, each in its own way. Curator Adelaide Gnecchi Ruscone @dada_gnecchi -Artistes Fang Xu @fansisy_ Aung Ko @aungko_artist Marisa Müsing @marisamusing Charlotte Moore @charlotte.l.moore #espacetempsart #planaomei

Group exhibition from last year curated by @isabelyoungart for Fringe Arts Bath ‘In Search of Ghosts’ interpreting contemporary art within archaeology. The piece ‘Deep Dreaming of Body Mysteries’ examines the figures from the Pompeiian Villa of Mysteries frieze using an early AI software Deep Dreaming, that condenses image pixels into recognisable shapes, faces and figures. Repeating the software on the scene creates hallucinogenic imagery where the bodies in the frieze morph into alien figures. Placed back into the original context, the image plays with translations of meaning and memory that occur through digital simulacrum. Other artists exhibiting include: David Ian Bickley @helenblejerman Diane Eagles @andrewekins @twocirclesdesign @caitlin.hazell @heitnerart Sadie Hennessy @dajanaheremic @h.hurford.craft @jamie_leeartist Rhiannon Lewando @becky.rebearth @tom_ss_morton Joshua Davie @stevepettengell @sarah.rhys Paul Vivian @seitaroyamazaki