Millie Elliott’s practice explores the hierarchy of materials through the appliance of both tactile and physical processes. Within her practice, Elliott has challenged the physical boundaries of cement, a material associated with infrastructure, by setting it in egg holders and with corrugated cardboard. Elliott’s work also focuses on the dissonance between the manmade and the organic, interweaving the two through three- dimensional and two-dimensional states – ultimately playing with form, perspective and duality.
In her latest work, Elliott has taken interest in the network of the photographic archive. Through sourcing photographs from different locations and by removing them from their original context, Elliott leaves the opportunity for the audience to build their own narrative; according to their individual experience. By displaying un-mediated photographs, Elliott is questioning to what extent belief influences the audiences understanding of fact and fiction.