Hope Morrison is an artist located in Queens, NY. She utilizes multimedia to create sculptures, paintings, and drawings, often blurring the lines between the three. Morrison is currently exploring her recent love for writing and rekindling her creative spirit out of her new studio in Brooklyn, NY.
HAVE YOU SEEN ME???? I AM CRAWLING BACK TO THE WOMB, is a web page created by Morrison that exhibits her recent works, many of which are still in progress. Inspired by her desk, the objects are in interactive disarray, alluding to a hermit. Morrison invites viewers to download and 3D print her sculpture Cradle (2020). The files can be found on the following page.
Studio Visit
Remarks by Olivia DeCapri
March 26, 2021
Entering Hope Morrison’s studio in Brooklyn, we were welcomed into a space filled with visceral objects. There isn’t just one way to consider the human body. Expanding foam presents itself as organs embedded with machine-made gems and decorations. Morrison gravitates towards synthetic materials. The tension of plastics becoming bodily feels as though it sits on the precipice of human becoming cyborg.
We had to kneel to the ground to engage with Morrison’s floor alter. There were sheets of resin with prints of digital images, curved plastic molds, and sparkling rhinestones cradled by fleshy material. The work varies in subject and size. A life-size line drawing of her body was hung on the wall. Various sheets were placed on all surfaces of the room: collages, poems, found images, and drawings, grounded by a large abstract painting. The tracings surrounded us on all levels.
Morrison’s hand emanates the materiality of artificial blings and grotesque hardened grace. In an uncanny way, her work formally responds to the moment of pause in capturing porous oozings. Contrary to the nature of plastic, when poured, there is a sense of delicacy that resembles the DNA of lace in Morrison’s work. The viewer is immediately confronted with the algorithms of pouring and the algorithms of desire.
Inspired by Morrison’s process and artworks, I wrote the following poem:
A Studio Visit with Hope in Fall
Fracture digitization, cracks.
Rapture, that’s sure. The sizzling of sweat on fire
light and desire.
In the screen
dissolving
to a place where we can touch it if we feel
the need to soak into the toxic chemical materials.
Synthetic
balls and let them drip.
Do not lick the rubber damp sweat off hanging
as we are.
Artificial showings something that doesn't exist in this space.
In this space.
In this space
we reflect on what this sculpture is doing.
What might you be doing
today.
Pouring resin on my back in Hopes that it will catch my fall.
HAVE YOU SEEN ME???? I AM CRAWLING BACK TO THE WOMB, is a web page created by Morrison that exhibits her recent works, many of which are still in progress. Inspired by her desk, the objects are in interactive disarray, alluding to a hermit. Morrison invites viewers to download and 3D print her sculpture Cradle (2020). The files can be found on the following page.
Studio Visit
Remarks by Olivia DeCapriMarch 26, 2021
Entering Hope Morrison’s studio in Brooklyn, we were welcomed into a space filled with visceral objects. There isn’t just one way to consider the human body. Expanding foam presents itself as organs embedded with machine-made gems and decorations. Morrison gravitates towards synthetic materials. The tension of plastics becoming bodily feels as though it sits on the precipice of human becoming cyborg.
We had to kneel to the ground to engage with Morrison’s floor alter. There were sheets of resin with prints of digital images, curved plastic molds, and sparkling rhinestones cradled by fleshy material. The work varies in subject and size. A life-size line drawing of her body was hung on the wall. Various sheets were placed on all surfaces of the room: collages, poems, found images, and drawings, grounded by a large abstract painting. The tracings surrounded us on all levels.
Morrison’s hand emanates the materiality of artificial blings and grotesque hardened grace. In an uncanny way, her work formally responds to the moment of pause in capturing porous oozings. Contrary to the nature of plastic, when poured, there is a sense of delicacy that resembles the DNA of lace in Morrison’s work. The viewer is immediately confronted with the algorithms of pouring and the algorithms of desire.
Inspired by Morrison’s process and artworks, I wrote the following poem:
A Studio Visit with Hope in Fall
Fracture digitization, cracks.
Rapture, that’s sure. The sizzling of sweat on fire
light and desire.
In the screen
dissolving
to a place where we can touch it if we feel
the need to soak into the toxic chemical materials.
Synthetic
balls and let them drip.
Do not lick the rubber damp sweat off hanging
as we are.
Artificial showings something that doesn't exist in this space.
In this space.
In this space
we reflect on what this sculpture is doing.
What might you be doing
today.
Pouring resin on my back in Hopes that it will catch my fall.
