Delicate petals drown in gloopy liquid, wet grass clings to bulging flesh. Such is the visceral world of 26-year-old photographer and self-professed pervert, Maisie Cousins. A master of contradiction, Cousins’ oozing compositions encapsulate a grotesque femininity that’s at once obscene yet beautiful, fragile yet firm. Subverting the still life stereotype, her sensual close-ups take typically aesthetically-pleasing motifs and refashion them as queasy, vulgar concoctions. Flowers, fluid and flesh morph into objects of awe and disgust, effervescent with irresistible obscenity.
Cousins’ icky images have earned her more than just an aesthetic reputation — she’s amassed an Insta following in excess of 65K, she’s represented by none other than TJ Boulting, and now her work is among some of the most hotly anticipated at Foam’s Unseen Amsterdam. In advance of the opening, we caught up with the photographic talent to find out about the gloop and gunk that comprise her intriguing images.
When did you first get into photography?
Probably aged 15. It was the most accessible medium I had. I grew up in a small flat and shared a bedroom. Painting or sculpture wasn’t an option.
What were you taking pictures of?
I started out with my uncle’s 35mm, and I was just practising on my friends. They’d dress up and we’d act like we were in a movie or something. At some point, I wanted to take pictures like the ones I take now — more still life and detail focused — but I didn’t know how. There was lots of trial and error. Eventually I got a digital camera, because I couldn’t afford to process endless terrible rolls of film.
Your work is constantly reframing beauty as obscene. How do you relate to the concept of beauty?
I like pictures where you sometimes don’t know what it is, or the more you notice once you look — that’s what a camera allows me to do. There’s beauty in most things.
Your photographs are irrevocably sensual — the exploration of texture, flesh, stickiness make them appear almost tactile. Why is this so interesting for you?
Photography is clinical and neat — a camera is a tool that you can’t get wet and you have to look after it. So, it’s fun to photograph these types of things. It always feels a little risky.
What’s your process for composing an image?
Often it’s just me on a kitchen table trying bits out, doing some cooking or chores then going back to it. It fits into my everyday. When I work commercially, I like to work with a small team.
Your new work seems to focus more on still life than photographing models — why is this?
I actually rarely work with people anymore. The ethics around photography and the power balance within it makes me uncomfortable. It doesn’t feel right to collect all these images of people, I started to question the reason why I wanted to do it and it’s weird… It was often because I wanted a picture of myself like that. Taking a picture of someone is an unnatural moment that the photographer keeps and owns. Of course, the sitter can have power too, but it’s predominantly in the photographer’s hands. If a friend wants their picture taken by me, or if its a commercial job where the act is more of a business transaction, I feel okay with it. But, to use someone else’s self in my personal art doesn’t feel right anymore. Maybe that will change again someday, who knows.
You began sharing your work on Tumblr at just 15 — now Instagram has become “the” platform for photography. How do you relate to social media — would you say your relationship is mostly a positive one?
The internet was a huge and necessary tool for me growing up as a teenager. I met most of my best friends on Tumblr or Flickr. No one took it seriously then, and you certainly didn’t make any money from it. I liked those days because it was just about finding other weirdos like you, bunking off school and getting on a train to meet your internet friends. I like Instagram in the way that it’s satisfying, but shouldn’t be taken too seriously. You can’t edit the format of it enough — it’s just little squares.
What inspires you most about London?
I like people’s efficiency, and people getting the job done well. I like the fast pace.
Who are the positive creative forces in your life?
All my mates.
Whose photography speaks to you the most?
Probably Noboyushi Araki. I think he is a pervert like me.
And what about books and cinema?
My all time favourite directors are Peter Greenway and Pedro Almodovar. I like the way they challenge complex human emotions and desires. I read a lot of Ballard as a teenager. I haven’t read enough classics. One of my favourite books The Sisters Brothers is being made into a film this year which I’m excited about.
What’s next for you?
I’d like to make short films.
Unseen Amsterdam runs from 21–23 September.