Liqueurfaction VIII

Morison’s minimalism has its recuperative moment. A calming monochromatic appearance in which the hectic hangover of earthquake tremors and liquefactions is congealed and resolved in an unalarming grey. An undercoat colour, it is the foundation for a renewal, even while it masks the ordeal from which it is derived.

Looking more closely Morison’s monochromes reveals an irksome surface. They are made of a kind of weird skin textured material. In this way, while they inhabit the aesthetic cleanliness of minimalism, they retain the primitive symbolism and matter of the corporeal earth that has been unleashed and to grotesquely reclaim cities, towns and places.

In addition to the monochrome works Morison presents her THINGS. Like the soothing minimalism that her monochromes present, THINGS tidy up the mess and make solid again that which has melted and run amok. Morison gathers more liquefaction and tries to regulate the irregular, creating neat boxes of scooped stuff. Organized, stackable and set – specific objects in the mode of the ‘new sculpture’ of the 1970s by Judd, Morris et al. whose works were also symptomatic of a need to contain and order the mess of atomic era.

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