Between multiple shows across three different continents—not to mention a home renovation—the British talent has a lot to do.
Collecting Antiquities Has Never Been So Fraught. Here’s How to Do It the Right Way.is talking a mile a minute over Zoom, routinely interrupting herself mid-sentence, or even mid-word, as she paces nonstop through her East, whose studio occupies the same former toy-factory building as hers, pops into the screen and vouches for her ambulatory habit. “People follow her around the studio,” he says.
Morris’s “Stacks” have always occupied the liminal space between sculpture and painting that has interested her since her art-school days. “For me, they’re really like paintings, but they’re not on canvas,” she says. They have evolved considerably, though, since she began making them about a decade ago. For one thing, whereas the initial works were tall and thin, these new ones are stout.
A “Stack” starts with a watercolor drawing. Then, in a satellite studio on the same street, Morris carves scores of spheres from dense foam. Back in her main studio, she coats the objects with plaster and paints them with layers of sand and raw pigment; the sand, in varying degrees of coarseness, concentrates dollops of saturated pigment in places, giving the pieces yet more texture and an otherworldly vibe.
Morris found herself repeatedly drawing ovoids that alluded both to eggs and to the swollen belly of her pregnancy. Piling these rounded pieces on top of one another in three dimensions compounded the sense of fragility, or impending doom. “There’s the feeling that you couldn’t and shouldn’t stack a sculpture in this way, and they should all fall,” she says. “There was something so lovely to me about the poetry of it.
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