Featuring work by: Arnar Asgeirsson, Jack Bangerter, Sarah Burns, Alexander Collins, Scott Cowan, Katy Cowan, Liz Craft, Zoe Crosher, Roy Dowell, Alec Egan, Grace Eunchong, Andreas Gurewich, Regina Herod, India Lawrence, Ellen Lesperance, Sofia Londono, Jason Bailer Losh, Anna Margaret, Erin Morrison, Kori Newkirk, Jorunn Hanke Ogstad, Pablo Picasso, Fay Ray, Charlie Roberts, Allison Schulnik, Brian Strandberg, Katie Thoma, Dani Tull
Temporary Installation with Ava Berlin, Los Angeles
February 2016 -
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Deep Superficial Perceptions, Group Exhibition
January 16, 2016 – February 20, 2016
"Rough and tumble rambunctiousness at The Pit Gallery"
David Pagel, 09.03.15
Right now, there are two kinds of art getting made: carefully researched pieces cooked up by schemers who have surveyed art’s pecking order and want a seat at the table, and far less logical works made by artists who would do what they do even if they were the last persons on Earth.
That go-it-alone ethos and just-want-to-see-it spirit are the only features that unite the works in “When the Sun Hits,” a loose group of seven pieces by five artists at the Pit. All are scrappy. Many are raw. Most are made from repurposed materials. Not one is a traditional painting, sculpture, print, piece of furniture, article of clothing or ceramic vessel. Nevertheless, a sense of necessity drives each piece.
Such can’t-live-without-it resolve burbles up, as if out of primal soup, in Jennie Jieun Lee’s queasy masterpiece, “Sherbert in Emerson.” It drifts, like a desert wind, from Erin Morrison’s fossilized palm frond and post-apocalyptic mirage. Both suggest that Southern California is its own version of Pompeii.
Channing Hansen’s inside-out paintings lure viewers into a netherworld where things are just what they seem, only different. JPW3’s homemade, half-scale, orange-felt craps table delivers a similar sense of Alice in Wonderland weirdness. The same goes for his ghostly transfer print depicting folded hands. And it’s true of Miyoshi Barosh’s multicolor wall sculpture, which makes kindred spirits of Mike Kelley and Yayoi Kusama.
The rough-and-tumble rambunctiousness of “When the Sun Hits” makes you feel that you are in the presence of dyed-in-the-wool outsiders — willful misfits congenitally predisposed to do their own thing. That’s where all art starts, despite the preponderance of evidence to the contrary.
When the Sun Hits, Group Exhibition, Glendale
August 9 - September 20 2015
"Grounding the City of Angels: Erin Morrison and Tomory Dodge at James Harris Gallery"
New American Paintings, Erin Langner, 07.13.15
“One Foot on the Ground is not a themed exhibition.” When I read this on the wall of Seattle’s James Harris Gallery, my impulse was to immediately look for a theme. After scouring the works of the six painters featured in the group show guest-curated by Los Angeles artist Alexander Kroll, I conceded that the claim held true. However, as I stood among Erin Morrison’s (NAP #97) palm tree leaves and the graffiti-like palettes of Tomory Dodge, I was drawn to their ties to the City of Angels. I might have been breaking the rules by clinging to the concrete in a show that insisted it was about abstraction. Or, maybe the show was designed so I would unearth my own themes. Maybe I had fallen into a trap that had been there all along."
—Erin Langner, Seattle contributor - See more at: New American Paintings Blog
One Foot on the Ground, Group Exhibition, Seattle
July 2 – August 15 2015
Full Press Release
"Women At Work"
KCRW Art Talk, Hunter Drohojowska-Philip, 03.26.15
In Relief, her first show at Samuel Freeman Gallery, Erin Morrison looks to modernist abstraction in handsome and heavy panels of hydrocal, a sort of malleable plaster, embossed and painted in highly original fashion. First, she sews quilts with the desired panels of colored fabric and combinations of stitching, then lays them in a frame and covers them with hydrocal. After it dries, she peels the quilt away to reveal the soft color that has transferred from the fabric as well as evidence of sinuous seams and thread marks. She may add thinned paint or abrade the surfaces.
In works like Solstice Ritual I, (2015), abstracted references to the hand and the eye, makers of the work, also emerge as part of her visual vocabulary. The inviting surfaces, the gentle, antique sense of color belie an admirable solidity in these object-pictures. The resulting works contain both the metaphoric and literal history of women’s work now presented in the larger context of post-modern art. It is on view through April 4.
"A debut that eschews bells and whistles for discovery"
David Pagel, 03.20.15
Erin Morrison uses a monoprint process to make low-relief sculptures that look like contemporary abstract paintings — of the lyrical variety — while putting visitors in mind of ancient ruins, medieval frescoes and prehistoric fossils, as well as death masks, tombstones, dry lake beds and the clay tablets on which early civilizations wrote the first words. That’s a lot to pack into a work of art. Morrison doesn’t make a big fuss about what her weighty works are up to. At Samuel Freeman, the 29-year-old’s solo debut skips the bells and whistles to get to the good stuff: the intimate inquisitiveness of art-making as a process of open-ended discovery and the equally open-minded attentiveness curious visitors bring to art.
Made of Hydrocal (a cross between concrete and plaster), Morrison’s biggest pieces are more than 7 feet tall and 4 feet wide. Set in solid wood frames, each leans against the main gallery’s walls. Their mass is palpable. So is the hush that fills the exhibition with the kind of silence that can be experienced in out-of-the-way galleries or in off-the-beaten-track museums, where plaster casts of masterpieces often gather dust. Morrison’s palette is similarly muted: faded pastels, weathered whites, sun-bleached tertiaries. Her compositions are rudimentary: roughly drawn lines, irregular shapes, imperfect patterns. The surfaces of her works are where the details reside. Individual stitches, woven fabrics, palm fronds and air bubbles can be seen. Each is the result of Morrison’s laborious process: gather fabrics, sew a quilt, lay it flat, build a mold, pour in Hydrocal, let it dry, tear out the quilt and then begin painting the cast slab.
All that is visible in the results. You don’t need a guidebook to figure out, in broad strokes, how Morrison made her contemplative totems. Each tells its quiet story to visitors willing to slow down and look closely.
Relief, Solo Exhibition, Los Angeles
February 28 - April 1 2015