In her portraits, Jenny Morgan paints photorealistic nudes suffused with fantastical color, distorted by gestural blurs, and sometimes framed by abstracted shapes. Her subjects are most often friends or self-portraits, as having a personal connection with the subject is essential to the artist. Echoing this intimacy, her figures hold eye contact to forge a psychological connection with the viewer. Morgan’s recent portrait series “All We Have is Now” invokes themes of death and rebirth with nods to religious imagery and symbols of mortality. The heady subject matter may seem at odds with the intense color that suffuses her figures—however, it is the push and pull between darkness and light that interests Morgan, to “look at everything in the light and realize it no longer feels so dark,” as she has said.