Elizabeth Moran

Elizabeth Moran is an artist who lives and works in San Francisco. Moran’s research-based practice is directed by a preoccupation with evidence of unknown or little understood histories and often takes form through photography, audio, text, and found objects. Moran was awarded a Murphy and Cadogan Fellowship in 2012 and a Tierney Fellowship in 2013. She was named a 2013 winner of Magenta Foundation’s Flash Forward (US) and was included in Photoboite’s 30 Under 30 Women in Photography and the CENTER Santa Fe 100 in 2014. She was a 2015 Artist-in-Residence at the Rayko Photo Center in San Francisco.

Measuring visual disturbances #2, 2014

Measuring visual disturbances #2, 2014

Cherry Road, 2014

Cherry Road, 2014

Cary’s Record of Cherry Road, 1960s / 2014

Cary’s Record of Cherry Road, 1960s / 2014


Record of Cherry Road

Record of Cherry Road investigates the myths that surround my family’s home, the farmhouse of an old plantation in Memphis, Tennessee. Storied to be haunted, the house contains a multitude of histories that are ever-present yet hidden. With the help of my aunt and uncle, both paranormal investigators, the project seeks a presence that exists within familial lore.

I explore my family’s own haunting as the dead continue to live through the recurrence of names, like George and Cary, through multiple generations. With my given name, Elizabeth Cary, I continue the Record of Cherry Road that another Cary began during her time in Memphis in the 1960s. The city itself, with its conflicting landmarks of Egyptian pyramids and Christian crosses, remains haunted by its own troubled past.

Cary’s animal graveyard and Cary’s graveyard today, 1960s / 2015

Cary’s animal graveyard and Cary’s graveyard today, 1960s / 2015

Pyramid of Memphis, 2014

Pyramid of Memphis, 2014

Documentation of paranormal activity from my mother’s childhood, like a map of footsteps or a flash in 
a window, further conflate myth and history. Referencing spirit photography from the nineteenth century, when ectoplasm was made of cotton, and contemporary images of the paranormal, where chromatic aberrations are not just an artifact of a digital sensor, the project questions our continued reliance on photography to prove 
a belief.

Do we simply see what we believe or do we believe what we see? By creating images within the nexus of fact and faith, I confront my lack of a sixth sense in contrast to my family’s sensitivity to unseen presences. Like paranormal investigators, I rely on a lifeless machine to create and validate the intangible spirit of the lived, 
but the resulting images, like ghost stories, are both real and imaginary.

Cary’s bedroom (corner), 2015

Cary’s bedroom (corner), 2015

George’s path, 2015

George’s path, 2015

Backyard at night (red filter), 2015

Backyard at night (red filter), 2015

Artifact (Raleigh Cemetery), 2013

Artifact (Raleigh Cemetery), 2013

Walks of the ghost (First Floor), from Cary’s Record of Cherry Road, 1960s / 2014

Walks of the ghost (First Floor), from Cary’s Record of Cherry Road, 1960s / 2014

Measuring aural disturbances (walking madly up and down the steps), 2015

Measuring aural disturbances (walking madly up and down the steps), 2015

window, mirror, window, 2015

window, mirror, window, 2015

Measuring visual disturbances #4, 2015

Measuring visual disturbances #4, 2015

Bellevue, 2013

Bellevue, 2013

Mike jumping, 1960s / 2015

Mike jumping, 1960s / 2015

Measuring visual disturbances #3, 2014

Measuring visual disturbances #3, 2014

Site of activity (bayou), 2014

Site of activity (bayou), 2014

To see more of Elizabeth’s work, check out her website.

See her work in Aint-Bad No. 9, From Here On.



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