Bodies of WorkJohn Morris2001-Present

Project List

1. Always - 20012. Potus- 20023. Coloring Colonialism- 20024. The Missing-20035. Natural States - 2004 on going project6. 32830 Working Title - 2006 on going project7. The Telepathy Drawings - 2005 on going project9. Interior Motives Working Title -2006 on going

project

Always2001

Always looked to examine the liquid nature of meaning as it pertains to object, material, and form. Always played with meanings that become associated with form and function. Because of the conversations that I was interested in generating with the work, craft played a crucial role in the works meaning and transmission of ideas. Thus the images and sculptures fashioned for Always were crafted in a manner that were easily reproducible by gallery goers, hopefully diminishing any distance that may be created between the viewer and artist, that can arise from the issue of craft. Ideally the simplicity of craft allows the audience to recreate/create their own works, thus forming their own dialogues and set of questions and solutions, that may have been inspired by the show.

Always

Give Me A “J”. from “Always”. PomPoms, Hot Glue, Plywood and Pink House Paint. 24 ft. x 8 ft. 2001.

Always. Picket Fence, Astroturf, Plywood, Slim Jims, and Hot glue. 2001

From Bambi to Babes from “Always”. Two store bought puzzles recombined with glue.14 in. x 11 in. 2001.

POTUS2002

POTUS is an ongoing project that stems from my interest in the theatre and business of politics. The national system for elections is a complex system which has become a vehicle for big business. Decisions that decide who will become one of the most important people in shaping current events are often decided by a mix of extremely personal beliefs and trivial tastes.POTUS looks to investigate the portraits of men who have held the office of the President of the United of America, and delve into the shallow nature of understanding the circumstances and desires of these men in accomplishing their goals for reaching this important and vaulted office.

Potus

Abe from POTUS. Ebony Pencil, Oil bar, and Prismacolor. 24 in. x 18 in. 2002

Parachute from POTUS. Ebony Pencil, Oil bar, and Prismacolor. 14 in. x 11 in. 2002

POTUS: Installation Shot at Athica. Mixed Media, Ebony Pencil, Oil bar, Markers, Various Papers, Red White and Blue Pushpins, and Brown Corrugated Bulletin Border. 28 ft. x 9ft. 2002.

Coloring Colonialism2002

With the Global economy becoming more interconnected and Countries advancing their strategic agenda’s for security and economic prosperity; Coloring Colonialism mined the past for images that mirror current events and foreign policies. The project looks at the brutality of colonialization while shrouding under the guise of moral superiority. The project has two components, one is the formal gallery presentation, the second is a book placed in the gallery which is provided to allow gallery goers participate and take responsibility for the coloring of colonial actions.

Coloring Colonialism

New Spain and The Strappado, from Coloring Colonialism. Ultrachrome with Prismacolor and Sharpie. 26 in. x 22 in. 2002.

Kingdom of Guatemala and One Woman from Coloring Colonialism. Ultrachrome with Prismacolorand Sharpie. 26 in. x 22 in. 2002.

Coloring Colonialism A Small Book. Gallery Book for Visitors to Color, Limited Edition.Ultrachrome on Rives Bfk. 30 in. x 24in. 2003.

The Missing2003

The Missing were born out of the curiosity surrounding the media attention surrounding the Elizabeth Smart missing person’s case and the general fascination the popular news outlets have for certain cases, ie. The Smarts, The Ramsey's, The Holloway's. These images are then juxtaposed with the mailers of Missing Kids who are represented by a black and white thumbnail measuring roughly 1.25 in x 2 in, while backing an advertisement for having ones oil changed. The images created from this project confronts the question of information as it pertains to the portrait. The drawings are based off the fliers received in the mail. Rendered with Ebony pencil, and Oil bar, the drawings are approximately 22 in x 36 in. The drawings have been exhibited both in formal gallery settings as well as “posters”, outside in public spaces. In addition to drawings in the classic form they have been reproduced in sugar and placed into cookies to comment quite literally on the idea of news and image consumption.

The Missing

Daniel from The Missing. Ebony Pencil and Oil bar on Rives Bfk. 22 in. x 36 in. 2003.

Holly from The Missing. Ebony Pencil and Oil bar on Rives Bfk. 22 in. x 36 in. 2003.

Installation Shot of The Missing. Ebony Pencil, Oil Bar. On BFK. 2004.

Detail from The Missing Installation (Terry). Ebony Pencil, Oil Bar, on BFK, with Roofing Nails. 2004.

The Missing. Printed Icing on Oatmeal Cookies. Set of Four. 4 in x 5 in. 2003

Natural States2004

Natural States’ meaning is still both elusive and evolving. The project began more out of chance when visiting a Dale Chihuly exhibit installed at the State Botanical Gardens of Georgia with my parents. I was struck by the beauty and strength of nature struggling within the confines of a planned environment. I sensed an heroic effort akin to all things living which is

ultimately resigned to fleeting moments in time. Since that initial shoot I have been visiting various Botanical Gardens and Arboretums looking for new subjects for this project. The project has been shot with a Nikon Coolpix 5000 and printed with Ultrachromes on Rives BFK, measuring 30in x 40in.

Natural states

“Untitled Tree Triptych” Ultrachrome on Rives BFK. 100x40 in. 2004.

“Untitled Red Tree” Ultrachrome on Rives BFK. 30x40 in. 2004.

“Untitled Blue Green Ornamental” Ultrachrome on Rives BFK. 30x40 in. 2004.

“Untitled Yellow Tree” Ultrachrome on Rives BFK. 30x40 in. 2004.

32830 2005- ongoing project

When our experiences are being mediated and shaped through virtual realities and planned communities, it is important to re-examine the context and effect of escapism, artifice, and the suspension of disbelief in architecture and planned landscapes. 32830’s imagery depicts landscapes through which humans escape while engaging fantasy, early memories, and visions of ideal states of being. As the boundaries between fantasy and the everyday begin to dissolve the two begin to merge creating a confused and insulating affect. 32830 is an ongoing project that explores the nexus of these converging realities by recording the dioramas, facades, and the translated fabrications of fairytale landscapes.

“Escape to….” Silver Gelatin Print. 2005.

“Watering Hole” Silver Gelatin Print. 11x14 in. 2006.

“Plastic Cornucopia” Silver Gelatin Print. 11x14 in. 2006.

“Plants in Space” Silver Gelatin Print. 11x14 in. 2006.

“Ripple” Silver Gelatin Print. 11x14 in. 2006.

“Sunset” Silver Gelatin Print. 11x14 in. 2006.

The Telepathy Drawings2005

A Collaborative Effort with Christina Ayala

In the early part of 2005 I began the telepathy drawings. The project consists of myself and fellow artist Christina Ayala, sitting down to transmit and record telepathic messages. I sit on one side of a table with Christina across from me. Each session lasts for seven minutes, during which time I transmit a singular thought, ie. “Princess Di”. At some point along the transmission Christina receives and transcribes the

message through drawing. In addition to the record created by Christina, I photograph the complete duration of the seven minute session with a large format camera. This stands along with the drawing as an document of the collaboration. The project explores and confronts the junction of meaning, belief, and collaborative nature in art making and viewing. In addition to the presentation of our work in the Gallery Space, we install a Telepathy Station, where we invite the Gallery visitors to sit down and create their own Telepathic Drawings.

“Black Magic” from The Telepathy Drawings, With Collaborative Drawing by Christina Ayala. Silver Gelatin Print with Pen and Ink and Prismacolor Drawing. 2005.

“Two Mules and a Shovel” from The Telepathy Drawings, With Collaborative Drawing by Christina Ayala. Silver Gelatin Print with Pen and Ink and Prismacolor Drawing. 2005.

“Web Surfing” from The Telepathy Drawings, With Collaborative Drawing by Christina Ayala. Silver Gelatin Print with Pen and Ink and Prismacolor Drawing. 2005.

Telepathy Station Installation from The Telepathy Drawings, With Collaborative Drawings made by Gallery Visitors installed at Artspace. New Haven Ct. 2006

Interior Motives 2006- ongoing project

Recently I was fortunate to receive an antique 8x10 largeformat view camera. This camera, being over a century old, having seen better days, it’s bellows and brass worn, the standards and locking breaks stripped, seemed to be the perfect tool to explore my feelings of excitement and trepidation in purchasing a home with my partner. Due to the lack of control that this camera exerts over my image making, I have entered into a partnership of give and take which mirrors the reality of sharing one’s life. To enhance this feeling of mediated experience I have incorporated photographic paper as my negative and a 4x5 lens which creates the vinetteing in the image. These images are in essence snapshots of my own domestification.

“Apples with Bunny”. 8x10 Silver Gelatin Print Contact Printed from Paper Negative. 2006.

“Thoughts that Counted” 8x10 Silver Gelatin Print Contact Printed from Paper Negative. 2006.

“Portraits with Lamp”. 8x10 Silver Gelatin Print Contact Printed from Paper Negative. 2006.

“Cornered” 8x10 Silver Gelatin Print Contact Printed from Paper Negative. 2006.

“Light with Dog Toy”. 8x10 C-41 Print Contact Printed from Paper Negative. 2006.

“Red-Green”. 8x10 C-41 Print Contact Printed from Paper Negative. 2006.

“Before”. 8x10 C-41 Print Contact Printed from Paper Negative. 2006.

“After”. 8x10 C-41 Print Contact Printed from Paper Negative. 2006.

Bodies of WorkJohn Morris

2001-Present