Prof. Doctorate Fine art 2017
Suzi Morris
Prof. Doctorate in Fine Art, Class 2017. Suzi Morris ( right)
Showcase 2015
Suzi Morris
statement 2015
The characteristics of invisibility, intangibility, the unknown and the ability to replicate and mutate are concerns for Suzi Morris whose imaginary relationship with this microorganism seeps into her practice. Synthesizing her research interests in viral processes, she explores this concept but not in a literal sense. Parallel lines function in both defining and challenging the space and our perception of it, in an attempt to create a tension between beauty and anxiety.
Emphasizing the relationship between the organic medium of oil paint and perceptions, rather than representation, Morris’s paintings use empty space as a potent field of contact, allowing for the natural occurrences or ‘events’ inherent in oil paint to activate a resonance between the seen and the unseen, making visible a reality that we can neither see nor describe but whose existence can be questioned.
Emphasizing the relationship between the organic medium of oil paint and perceptions, rather than representation, Morris’s paintings use empty space as a potent field of contact, allowing for the natural occurrences or ‘events’ inherent in oil paint to activate a resonance between the seen and the unseen, making visible a reality that we can neither see nor describe but whose existence can be questioned.
The interplay between viral replication and the host has generated an interest in the ‘unseen’ of contagion, and our evolving understanding of disease.
In proposing the concept of the Viral Sublime, Suzi Morris’s intention is to interconnect knowledge from science, technology and aesthetics in producing work capable of highlighting such intangibles that remain unseen to the naked eye.
The characteristics of invisibility, intangibility, the unknown, and the ability to replicate and mutate, engender an imaginary relationship with this microorganism, which seeps into her practice. Synthesizing her research interests in viral processes, she explores this concept but not in a literal sense. Paint as an organic substance is capable of transformation and destruction. If the paint becomes the ’Virus’, in a metaphorical sense, it is through the process of destruction and mutation the final image emerges, constantly evolving and always infinite.
Parallel lines function in both defining and challenging the space and our perception of it, in an attempt to create a tension between beauty and anxiety. Emphasizing the relationship between the organic medium of oil paint and perceptions, rather than representation, Morris’s paintings use empty space as a potent field of contact, allowing for the natural occurrences or ‘events’ inherent in oil paint to activate a resonance between the seen and the unseen, making visible a reality that we can neither see nor describe but whose existence can be questioned.
Suzi Morris
[email protected]
www.suzimorrisart.com
@viralsublime
In proposing the concept of the Viral Sublime, Suzi Morris’s intention is to interconnect knowledge from science, technology and aesthetics in producing work capable of highlighting such intangibles that remain unseen to the naked eye.
The characteristics of invisibility, intangibility, the unknown, and the ability to replicate and mutate, engender an imaginary relationship with this microorganism, which seeps into her practice. Synthesizing her research interests in viral processes, she explores this concept but not in a literal sense. Paint as an organic substance is capable of transformation and destruction. If the paint becomes the ’Virus’, in a metaphorical sense, it is through the process of destruction and mutation the final image emerges, constantly evolving and always infinite.
Parallel lines function in both defining and challenging the space and our perception of it, in an attempt to create a tension between beauty and anxiety. Emphasizing the relationship between the organic medium of oil paint and perceptions, rather than representation, Morris’s paintings use empty space as a potent field of contact, allowing for the natural occurrences or ‘events’ inherent in oil paint to activate a resonance between the seen and the unseen, making visible a reality that we can neither see nor describe but whose existence can be questioned.
Suzi Morris
[email protected]
www.suzimorrisart.com
@viralsublime