Rebecca Morris, ‘Untitled (#01-17)’, 2017, LAXART

Morris subscribes to an abstraction that is about possibilities. Her paintings are rooted in the discipline’s most elementary characteristics, namely the interplay of shape and color all undergirded by a mark-making repertoire in which thick and thin modes of paint handling are played off one another in complete contradistinction. Such is the case with this untitled work where an all-over gestural abstraction is pitted against a finely wrought, silver grid which has the texture of bead welding. Not only do these two components represent opposite poles of abstraction (the emotional versus the rational), the material reflect different temporalities as a distant translucence is juxtaposed against an eminent opacity. Courtesy of the artist and Corbett vs. Dempsey, Chicago.

Image rights: Courtesy of the artist and Corbett vs. Dempsey, Chicago

About Rebecca Morris

Rebecca Morris paints challenging large-scale abstractions. Known for writing “Abstraction never left, motherfuckers” in a 2004 painting manifesto when abstraction was out of favor in the art world, Morris has developed an unconventional, post-Bauhaus visual language that suggests new directions for abstract painting. Her canvases teem with unusual, seemingly disconnected shapes, each rendered in a different technique and floating freely through space. “I want my work to be a dynamic presence, to create visual and physical impact in a space,” Morris said in a 2012 interview. “In general I’ve found that people respond to my work over time, so the highest compliment would be if someone wanted to spend lengthy and repeated time with my work.”

American, b. 1969, Honolulu, Hawaii, based in Los Angeles, California

Group Shows

The Pit, 
Reveal the Rats
Kate MacGarry, 
San Francisco,