This fusion of
literature and art further progressed into a recreation of Freud’s
‘Interpretation of Dreams’ following the ‘uncreative’ movement into ‘Re-
writing Freud’ 2005. Via a computer -generated programme, Morris scrambled the
Freudian words, rearranging them in a random order. The final product was a
close replica of Freud’s original (with the cover having the same image and
colours, only differing in the publication symbol) with the same amount of
words and pages, yet in a completely illogical order, thus rendering it
completely useless for its original purposes. This breaks down the boundary
between the reader and the artwork and allows for the actual artwork itself to
exist in the liminal space between the two. The idea or concept behind his
artwork is the most important part of his work, it is not the skill or the
craftsmanship of his
work
that is in the foreground, it is the perception of the art that is paramount.
By scrambling Freud’s words, meaning is useless and the boundary between the
reader and the artwork is broken down as the spectator must make sense of the
new re- assembled Freudian text. Professor Craig Dworkin said that with Morris’
‘Re-writing Freud’ the reader “responds to this book by complaining that it is
nonsensical is neither right nor wrong, but asking the wrong question, posing
an impossible problem in response this book’s insistent imaginary solution”.
Perhaps Dworkin is suggesting that we cannot judge Morris’ work because of its
illogical pattern as it is supposed to be that way, rather we must accept the
chaos that it creates and find further interpretations in it’s juxtaposition of
both meaning and non- meaning.
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