Morgan says of this work, “In my simulation sculpture series I reflect on the fundamentals of traditional sculpture as a medium; that is, through exploring stone and metal. I was inspired by the ultra-polished language of 3D digital art to create an otherworldly component to merge the rocks. The blob has been made to appear as something otherworldly, maybe futuristic or even digital, however the rock’s primordial history speaks in opposition to this. The title refers to the relationship between rock and metal, the reflection created by the blob, and the ultimate digital sublimation of the piece.”
Inspired by techniques and forms seen in Alberto Burri’s Material Realism, art movements like the Korean Dansaekhwa and Post-Minimalism, and the suspended sculptures of Jose Dávila, the works in ‘Skin’ are reduced in order to emphasise their materiality. Surfaces of the canvases form a type of skin, constructed through repetitive actions that create highly textured surfaces…
Rocks are used in both paintings and sculptures, their raw mass and prehistory palpable, standing in contrast to the modern mass-manufactured linens and fabrics surrounding them. This contrast is what compels the show; somehow, a primal sensibility runs through the works—almost as if you’re in a cave, rather than a gallery. Indeed, the artist examined cave paintings for inspiration materially, texturally, and compositionally. Looking to the past, from the lens of the future, as a means to make sense of the physical world.
Excerpt from Stephanie Wade’s essay – A Glitch In Time (2003)
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