John Morris is an artist who has created several ongoing projects between 2001 and present. These include Always from 2001, which examined meanings associated with objects. POTUS from 2002 investigated portraits of US presidents. Natural States from 2004 features photographs of botanical gardens. 32830 from 2005 depicts imagined landscapes. Interior Motives from 2006 uses a vintage camera to document Morris's home.

1. Bodies of Work
John Morris
2001-Present

2. Project List
1. Always - 2001
2. Potus- 2002
3. Coloring Colonialism- 2002
4. The Missing-2003
5. Natural States - 2004 on going project
6. 32830 Working Title - 2006 on going project
7. The Telepathy Drawings - 2005 on going project
9. Interior Motives Working Title -2006 on going
project

3. Always
2001
Always looked to examine the liquid nature of meaning as it pertains to
object, material, and form. Always played with meanings that become associated
with form and function. Because of the conversations that I was interested in
generating with the work, craft played a crucial role in the works meaning and
transmission of ideas. Thus the images and sculptures fashioned for Always were
crafted in a manner that were easily reproducible by gallery goers, hopefully
diminishing any distance that may be created between the viewer and artist, that
can arise from the issue of craft. Ideally the simplicity of craft allows the
audience to recreate/create their own works, thus forming their own dialogues
and set of questions and solutions, that may have been inspired by the show.
Always

4. Give Me A “J”. from “Always”. PomPoms, Hot Glue, Plywood and Pink House Paint. 24 ft. x 8 ft. 2001.

5. Always. Picket Fence, Astroturf, Plywood, Slim Jims, and Hot glue. 2001

6. From Bambi to Babes from “Always”. Two store bought puzzles recombined with glue.14 in. x 11 in. 2001.

7. POTUS
2002
POTUS is an ongoing project that stems from my interest in the theatre
and business of politics. The national system for elections is a complex
system which has become a vehicle for big business. Decisions that
decide who will become one of the most important people in shaping
current events are often decided by a mix of extremely personal beliefs
and trivial tastes.
POTUS looks to investigate the portraits of men who have held the
office of the President of the United of America, and delve into the
shallow nature of understanding the circumstances and desires of these
men in accomplishing their goals for reaching this important and vaulted
office.
Potus

8. Abe from POTUS. Ebony Pencil, Oil bar, and Prismacolor. 24 in. x 18 in. 2002

9. Parachute from POTUS. Ebony Pencil, Oil bar, and Prismacolor. 14 in. x 11 in. 2002

10. POTUS: Installation Shot at Athica. Mixed Media, Ebony Pencil, Oil bar, Markers, Various Papers,
Red White and Blue Pushpins, and Brown Corrugated Bulletin Border. 28 ft. x 9ft. 2002.

11. Coloring Colonialism
2002
With the Global economy becoming more interconnected and
Countries advancing their strategic agenda’s for security and
economic prosperity; Coloring Colonialism mined the past for images
that mirror current events and foreign policies. The project looks at
the brutality of colonialization while shrouding under the guise of
moral superiority.
The project has two components, one is the formal gallery
presentation, the second is a book placed in the gallery which is
provided to allow gallery goers participate and take responsibility for
the coloring of colonial actions.
Coloring Colonialism

12. New Spain and The Strappado, from Coloring Colonialism. Ultrachrome with Prismacolor and
Sharpie. 26 in. x 22 in. 2002.

13. Kingdom of Guatemala and One Woman from Coloring Colonialism. Ultrachrome with Prismacolor
and Sharpie. 26 in. x 22 in. 2002.

14. Coloring Colonialism A Small Book. Gallery Book for Visitors to Color, Limited Edition.
Ultrachrome on Rives Bfk. 30 in. x 24in. 2003.

15. The Missing
2003
The Missing were born out of the curiosity surrounding the media
attention surrounding the Elizabeth Smart missing person’s case and
the general fascination the popular news outlets have for certain
cases, ie. The Smarts, The Ramsey's, The Holloway's. These images
are then juxtaposed with the mailers of Missing Kids who are
represented by a black and white thumbnail measuring roughly 1.25
in x 2 in, while backing an advertisement for having ones oil
changed.
The images created from this project confronts the question of
information as it pertains to the portrait. The drawings are based off
the fliers received in the mail. Rendered with Ebony pencil, and Oil
bar, the drawings are approximately 22 in x 36 in. The drawings have
been exhibited both in formal gallery settings as well as “posters”,
outside in public spaces. In addition to drawings in the classic form
they have been reproduced in sugar and placed into cookies to
comment quite literally on the idea of news and image consumption.
The
Missing

16. Daniel from The Missing. Ebony Pencil and Oil bar on Rives Bfk. 22 in. x 36 in. 2003.

17. Holly from The Missing. Ebony Pencil and Oil bar on Rives Bfk. 22 in. x 36 in. 2003.

18. Installation Shot of The Missing. Ebony Pencil, Oil Bar. On BFK. 2004.

19. Detail from The Missing Installation (Terry). Ebony Pencil, Oil Bar, on BFK, with Roofing Nails. 2004.

20. The Missing. Printed Icing on Oatmeal Cookies. Set of Four. 4 in x 5 in. 2003

21. Natural States
2004
Natural States’ meaning is still both elusive and evolving. The
project began more out of chance when visiting a Dale Chihuly
exhibit installed at the State Botanical Gardens of Georgia with
my parents. I was struck by the beauty and strength of nature
struggling within the confines of a planned environment. I
sensed an heroic effort akin to all things living which is
ultimately resigned to fleeting moments in time. Since that
initial shoot I have been visiting various Botanical Gardens and
Arboretums looking for new subjects for this project.
The project has been shot with a Nikon Coolpix 5000 and
printed with Ultrachromes on Rives BFK, measuring 30in x
40in.
Natural states

22. “Untitled Tree Triptych” Ultrachrome on Rives BFK. 100x40 in. 2004.

23. “Untitled Red Tree” Ultrachrome on Rives BFK. 30x40 in. 2004.

24. “Untitled Blue Green Ornamental” Ultrachrome on Rives BFK. 30x40 in. 2004.

25. “Untitled Yellow Tree” Ultrachrome on Rives BFK. 30x40 in. 2004.

26. 32830
2005- ongoing project
When our experiences are being mediated and shaped through virtual realities
and planned communities, it is important to re-examine the context and effect
of escapism, artifice, and the suspension of disbelief in architecture and
planned landscapes. 32830’s imagery depicts landscapes through which
humans escape while engaging fantasy, early memories, and visions of ideal
states of being. As the boundaries between fantasy and the everyday begin to
dissolve the two begin to merge creating a confused and insulating affect.
32830 is an ongoing project that explores the nexus of these converging
realities by recording the dioramas, facades, and the translated fabrications of
fairytale landscapes.

27. “Escape to….” Silver Gelatin Print. 2005.

28. “Watering Hole” Silver Gelatin Print. 11x14 in. 2006.

29. “Plastic Cornucopia” Silver Gelatin Print. 11x14 in. 2006.

30. “Plants in Space” Silver Gelatin Print. 11x14 in. 2006.

31. “Ripple” Silver Gelatin Print. 11x14 in. 2006.

32. “Sunset” Silver Gelatin Print. 11x14 in. 2006.

33. The Telepathy Drawings
2005
A Collaborative Effort with Christina Ayala
In the early part of 2005 I began the telepathy drawings. The project
consists of myself and fellow artist Christina Ayala, sitting down to
transmit and record telepathic messages. I sit on one side of a table with
Christina across from me. Each session lasts for seven minutes, during
which time I transmit a singular thought, ie. “Princess Di”. At some
point along the transmission Christina receives and transcribes the
message through drawing. In addition to the record created by
Christina, I photograph the complete duration of the seven minute
session with a large format camera. This stands along with the drawing
as an document of the collaboration. The project explores and
confronts the junction of meaning, belief, and collaborative nature in
art making and viewing. In addition to the presentation of our work in
the Gallery Space, we install a Telepathy Station, where we invite the
Gallery visitors to sit down and create their own Telepathic Drawings.

34. “Black Magic” from The Telepathy Drawings, With Collaborative Drawing by
Christina Ayala. Silver Gelatin Print with Pen and Ink and Prismacolor Drawing. 2005.

35. “Two Mules and a Shovel” from The Telepathy Drawings, With Collaborative Drawing by
Christina Ayala. Silver Gelatin Print with Pen and Ink and Prismacolor Drawing. 2005.

36. “Web Surfing” from The Telepathy Drawings, With Collaborative Drawing by
Christina Ayala. Silver Gelatin Print with Pen and Ink and Prismacolor Drawing. 2005.

37. Telepathy Station Installation from The Telepathy Drawings, With Collaborative
Drawings made by Gallery Visitors installed at Artspace. New Haven Ct. 2006

38. Interior Motives
2006- ongoing project
Recently I was fortunate to receive an antique 8x10
large
format view camera. This camera, being over a century
old, having seen better days, it’s bellows and brass
worn, the standards and locking breaks stripped, seemed
to be the perfect tool to explore my feelings of
excitement and trepidation in purchasing a home with
my partner. Due to the lack of control that this camera
exerts over my image making, I have entered into a
partnership of give and take which mirrors the reality of
sharing one’s life. To enhance this feeling of mediated
experience I have incorporated photographic paper as
my negative and a 4x5 lens which creates the vinetteing
in the image. These images are in essence snapshots of
my own domestification.

39. “Apples with Bunny”. 8x10 Silver Gelatin Print Contact Printed from Paper Negative. 2006.

40. “Thoughts that Counted” 8x10 Silver Gelatin Print Contact Printed from Paper Negative. 2006.

41. “Portraits with Lamp”. 8x10 Silver Gelatin Print Contact Printed from Paper Negative. 2006.

42. “Cornered” 8x10 Silver Gelatin Print Contact Printed from Paper Negative. 2006.

43. “Light with Dog Toy”. 8x10 C-41 Print Contact Printed from Paper Negative. 2006.

44. “Red-Green”. 8x10 C-41 Print Contact Printed from Paper Negative. 2006.

45. “Before”. 8x10 C-41 Print Contact Printed from Paper Negative. 2006.

46. “After”. 8x10 C-41 Print Contact Printed from Paper Negative. 2006.

47. Bodies of Work
John Morris
2001-Present