Tag Archives: art collecting

Artist x Artist Talk on Collage | Michael Andrew Booker, Lisa Myers Bulmash, GA Gardner and Amber Robles-Gordon

25 Jan

Video credit: Jarrett Hendrix

Morton Fine Art is pleased to announce Creating a New Whole, a group exhibition of collage artwork by Michael Andrew Booker, Lizette Chirrime, GA Gardner, Hiromitsu Kuroo, Lisa Myers Bulmash, Amber Robles-Gordon and Prina Shah. Ranging in techniques, approaches and materials—from quilting, tapestry, fabric, paint and appropriated mass media—the artists in Creating a New Whole exemplify collage’s invitation to what Myers Bulmash has recognized as “a process of purposefully taking things out of context.” Constructing new contexts, forms and wholes, these artists’ practices are frequently as generative as much as they are reparative, seeking to draw connections to what was absent or ignored in their elements’ original context(s). Creating a New Whole, will be on view from January 4 to February 4, 2023 at Morton’s Washington, D.C. space (52 O St NW #302).

Continuing quilting techniques practiced by their respective ancestors, Booker, Chirrime, Gardner and Shah work with resonant materials that speak to the past while enabling the past to speak to the present. Kenya-based, Shah’s personally charged materials include paper, saree, bindis and block printing which she vividly combines using textures, colors and forms, the sum total creating new narratives and perspectives for her inner voice. DC-based Booker is influenced by the coded and colorful history of quilts, referencing them as sign markers, shields, portals and gateways to help secure safe passage to a parallel utopic, afro-futuristic community, what the artist has called  “Afrotopia.” Intensely layering marks of fineliner pen, color pencil, collage and fabric, Booker conjures complex, multidimensional figurative works, his figures and forms cohereing together out of countless small acts. 

Mozambican artist Chirrime sources scrap materials from her environment and immediate communities, using fabric, burlap, rope, paint, beads, leather and more to produce dynamic collages that speak to African womanhood, and more broadly, the human condition. Slicing and collaging Western printed media, Trinidad and Tobago-based Gardner appropriates both content and practice, “creating false images and out-of-context narratives” that ironically and seductively mirror the Western world’s misrepresentation of people of color. Likewise taking a critical, redemptive eye to Western mass media, Myers Bulmash’s “Not Geo” series, a cutting play on National Geographic’s nickname, seeks to rehabilitate and restore to dignity the publication’s now notorious rendering of Africans and other non-Western people. 

Overall, a sense of construction charges the works in Creating a New Whole, whether that be the notion of renovating the present and past or extending out of the frame into sculptural dimensions. The latter can be seen in the sculptural geometric-like works of Robles-Gordon (pieces the artist recognizes as “temples, places of spiritual practice” and which reference her larger textile installations) and Kuroo, inspired by the tradition of origami in his native Japan, whose thickly layered applications of paint and canvas exist on the boundary between painting and three-dimensional art. 

Abidingly constructive in spite of their rigorous interventions, the works in Creating a New Whole end up with more than they started with as a matter of process. 

http://www.mortonfineart.com

East City Art | Creating a New Whole | Group Collage Exhibition at Morton Fine Art

19 Jan

MORTON FINE ART PRESENTS CREATING A NEW WHOLE

By Editorial Team on January 9, 2023

Wed, 04 January 2023 – Sat, 04 February 2023

Prina Shah, Unlock and Awaken, 2022, 25″x25″, paper, saree, bindis, block printing and acrylic on canvas

Opening Reception: Saturday, January 14 from 2pm to 4pm

Morton Fine Art is pleased to announce Creating a New Whole, a group exhibition of collage artwork by Michael Andrew Booker, Lizette Chirrime, GA Gardner, Hiromitsu Kuroo, Lisa Myers Bulmash, Amber Robles-Gordon and Prina Shah. Ranging in techniques, approaches and materials—from quilting, tapestry, fabric, paint and appropriated mass media—the artists in Creating a New Whole exemplify collage’s invitation to what Myers Bulmash has recognized as “a process of purposefully taking things out of context.” Constructing new contexts, forms and wholes, these artists’ practices are frequently as generative as much as they are reparative, seeking to draw connections to what was absent or ignored in their elements’ original context(s). Creating a New Whole, will be on view from January 4 to February 4, 2023 at Morton’s Washington, DC space (52 O St NW #302).

Collage Artwork by Michael Andrew Booker, Lisa Myers Bulmash, Lizette Chirrime, GA Gardner, Hiromitsu Kuroo, Amber Robles-Gordon & Prina Shah

About Creating a New Whole

Continuing quilting techniques practiced by their respective ancestors, Booker, Chirrime, Gardner and Shah work with resonant materials that speak to the past while enabling the past to speak to the present. Kenya-based, Shah’s personally charged materials include paper, saree, bindis and block printing which she vividly combines using textures, colors and forms, the sum total creating new narratives and perspectives for her inner voice. DC-based Booker is influenced by the coded and colorful history of quilts, referencing them as sign markers, shields, portals and gateways to help secure safe passage to a parallel utopic, afro-futuristic community, what the artist has called “Afrotopia.” Intensely layering marks of fineliner pen, color pencil, collage and fabric, Booker conjures complex, multidimensional figurative works, his figures and forms cohereing together out of countless small acts.

Mozambican artist Chirrime sources scrap materials from her environment and immediate communities, using fabric, burlap, rope, paint, beads, leather and more to produce dynamic collages that speak to African womanhood, and more broadly, the human condition. Slicing and collaging Western printed media, Trinidad and Tobago-based Gardner appropriates both content and practice, “creating false images and out-of-context narratives” that ironically and seductively mirror the Western world’s misrepresentation of people of color. Likewise taking a critical, redemptive eye to Western mass media, Myers Bulmash’s “Not Geo” series, a cutting play on National Geographic’s nickname, seeks to rehabilitate and restore to dignity the publication’s now notorious rendering of Africans and other non-Western people.

Overall, a sense of construction charges the works in Creating a New Whole, whether that be the notion of renovating the present and past or extending out of the frame into sculptural dimensions. The latter can be seen in the sculptural geometric-like works of Robles-Gordon (pieces the artist recognizes as “temples, places of spiritual practice” and which reference her larger textile installations) and Kuroo, inspired by the tradition of origami in his native Japan, whose thickly layered applications of paint and canvas exist on the boundary between painting and three-dimensional art.

Abidingly constructive in spite of their rigorous interventions, the works in Creating a New Whole end up with more than they started with as a matter of process.

Available artwork in Creating a New Whole

About MICHAEL ANDREW BOOKER
Michael Andrew Booker (b. USA) is a mixed media artist originally from Jackson, Mississippi who currently resides in Maryland. He received his BFA in Studio Art – Painting from Mississippi State University in 2008, and received his MFA in Studio Art from University of Maryland in 2012. He has exhibited in various galleries across Mississippi, Alabama, North Carolina, Maine, Maryland, Virginia and Washington DC. His work has been acquired by the David C. Driskell Center in College Park, MD. Currently, he is an Assistant Professor of Art at Montgomery College Takoma Park/Silver Spring.

Booker has been represented by Morton Fine Art in Washington, DC since 2019.

Available artwork by Michael Andrew Booker

About LISA MYERS BULMASH
Lisa Myers Bulmash (b. USA) is a collage and book artist who works primarily in acrylics, paper and found objects. Informally trained, Myers Bulmash began her career making handmade cards. After her father’s death in 2006, the artist felt compelled to take more personal risks in her creative life. Questions of identity, trust and the imperfect memory now drive most of her work. The artist aims to nudge the viewer into recognizing our shared stories, especially those narratives that are usually experienced in isolation.

Myers Bulmash exhibits her work in group and solo shows throughout the Seattle metro area. She has been represented by Morton Fine Art since 2020.

Available artwork by Lisa Myers Bulmash

About LIZETTE CHIRRIME
Lizette Chirrime (b. Mozambique) creates intricate fabric collages on canvas that are at once celebratory and soul-stirring, as the artist flirts between figuration and abstraction to develop a unique—and distinctly African—visual language. Stitching together printed fabrics, beads, and other familiar objects in Southern Africa, Chirrime transforms simple materials into autobiographical and narrative tableaux freighted with deeply felt emotion and patterns of meaning. Many of her collages center maternal figures and stories of African motherhood, honoring their millennia-long legacy of strength and grace and positing their representation as a symbolic device.

After receiving a three-month residency at Greatmore Studios in Cape Town in 2005, Chirrime spent the next 16 years of her practice in South Africa. In 2021, she made a return to her home country of Mozambique, where she now lives and continues to create.

She has been represented by Morton Fine Art since 2021.

Available artwork by Lizette Chirrime

About GA Gardner
GA Gardner (b. Republic of Trinidad and Tobago) uses print media content to create an intimate viewpoint of his intercultural experience. Through the lens of his Caribbean heritage, he dissects, covers up, reveals, layers, and re-contextualizes the material in the print publications he uses, to construct pieces that specifically discuss issues of politics, race, culture, and identity.

The publications are a natural fit for Gardner, as they offer random vibrant color palettes, much like that of a typical Caribbean environment, and a great mixture of text and professionally photographed images. However the colors are universal and allow a conceptual approach to finding the common ground among all cultures. The artist combines these media depictions and information with natural paper and synthetic materials to aid in his message. By deconstructing the images into strips, or bits of torn paper, and assigning new overlays of unifying colors to the materials, Gardner erodes the original content at various levels often reducing them to shades with traces of random colors. The image that was once a bold headline new banner, or the newest eye catching product now struggles to be seen; muted, it now plays a secondary role to layers of paint and other mediums. The resulting serendipitous visual construction is an unsystematic reconfiguration and re-purposing to discuss culture, heritage and the symbolism of color.

He has been represented by Morton Fine Art since 2012.

Available artwork by GA Gardner

About HIROMITSU KUROO
Hiromitsu Kuroo (b. Japan) is a Japanese collage painter working in the tradition of origami. In his work, the canvas serves as the paper, and the gentle manipulation of its surface conveys intricate textural landscapes. The multiple layers of colors in his folded canvases are revealed by sanding the canvas surface. Interested in the juxtaposition and vitality of collaged pieces of canvas, he uses them to accentuate other emerging shapes in his compositions.

Kuroo earned both a BFA and MFA from Tohoku University of Art & Design and has had solo exhibitions at the New York based Tenri Cultural Institute, Gloria Kennedy Gallery, MIKIMOTO NY, Makari and Bronx Community College, as well as the Tokyo-based Gallery Yamaguchi and G-Art Gallery. He was awarded Pollock-Krasner Foundation Grants in 2010 and 2019, Adolph & Esther Gottlieb Foundation Grant in 2022 and the artist residency program for The Golden Foundation in 2019. In 2020, he was interviewed for Forbes Magazine. He has been represented by Morton Fine Art since 2022.

Available artwork by Hiromitsu Kuroo

About AMBER ROBLES-GORDON
Amber Robles-Gordon (b. Puerto Rico) completed her Masters of Fine Arts from Howard University in November 2011, where she has received annual awards and accolades for her artwork. Her exhibitions and artwork has been reviewed and/or featured in many esteemed publications including the Washington Post, the Miami Herald, Huffington Post and Callaloo Art & Culture in the African Diaspora.

Robles-Gordon was commissioned to create temporary and permanent public art installations for numerous art fairs and agencies such as the DC Commission on the Arts and Humanities, DCCAH; Northern Virginia Fine Arts Association (NVFAA); Humanities Council of Washington, D.C.; Howard University, James C. Porter Colloquium; Schomburg Center for Research in Black Culture; the Washington Projects for the Arts; Salisbury University; Martha’s Table; DC Department of General Services and Democracy Fund.

Additionally, she has been commissioned to teach workshops, give commentary and present about her artwork by the Smithsonian Anacostia Museum; Luther College; WETA Television; Al Jazeera; WPFW 89.3 fm; WAMU | American University Radio; The Kojo Nnamdi Show; Howard University, James A. Porter Colloquium; David C. Driskell Center; the Phillips Collection; the African American Museum in Philadelphia; McDaniel College; Salisbury University; Harvey B. Gantt Center; American University and National Museum of African American History and Culture. Her solo exhibition, Successions: Traversing US Colonialism, curated by Larry Ossei-Mensah, was hosted by the American University Museum at the Katzen Arts Center in 2021. She has been represented by Morton Fine Art since 2016.

Available artwork by Amber Robles-Gordon

About PRINA SHAH
Prina Shah (b. Kenya) is a contemporary artist currently living in Nairobi, Kenya. Born in Kenya to Indian parents, Shah also grew up partially in the U.K.; her artistic work embraces the indeterminacy of her national identity, including a fascination with the formation of selfhood as it relates to a specific cultural context. In a creative practice spanning mixed media—including sculpture, painting, glasswork and less traditional materials such as human hair—Shah’s art challenges the notions of individualized identity within a communal whole. Shah uses meditation as the impetus and foundation of her work, drawing the viewer into a personal narrative and inviting the participant to share in her visual journey of interconnection as she explores what it means to be one among many.

Shah’s work has been included in numerous national and international exhibitions and has been acquired by the permanent collections of Finland’s Poikilo Kouvola Art Museum and the I&M Bank Collective in Kenya, as well as numerous private collections. She has been represented by Morton Fine Art since 2022.

Available artwork by Prina Shah

About Morton Fine Art
Founded in 2010 in Washington, DC by curator Amy Morton, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that art collecting can be cultivated through an educational stance, MFA’s mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice. Morton Fine Art specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African Diaspora.

Morton Fine Art founded the trademark *a pop-up project in 2010. *a pop-up project is MFA’s mobile gallery component which hosts temporary curated exhibitions nationally.

Gallery hours: By appointment only.

Morton Fine Art is located at 52 O St NW #302.

Art Daily | Creating a New Whole | Group Collage Exhibition at Morton Fine Art

19 Jan
Collage art that constructs the present & repairs the past at Morton Fine Art
GA Gardner. So You, 2014. 42 x 65 in. Mixed media on mylar.

WASHINGTON, DC.- Morton Fine Art is presenting Creating a New Whole, a group exhibition of collage artwork by Michael Andrew Booker, Lizette Chirrime, GA Gardner, Hiromitsu Kuroo, Lisa Myers Bulmash, Amber Robles-Gordon and Prina Shah. Ranging in techniques, approaches and materials—from quilting, tapestry, fabric, paint and appropriated mass media—the artists in Creating a New Whole exemplify collage’s invitation to what Myers Bulmash has recognized as “a process of purposefully taking things out of context.” Constructing new contexts, forms and wholes, these artists’ practices are frequently as generative as much as they are reparative, seeking to draw connections to what was absent or ignored in their elements’ original context(s). Creating a New Whole, will be on view until February 4, 2023 at Morton’s Washington, D.C. space (52 O St NW #302).

Continuing quilting techniques practiced by their respective ancestors, Booker, Chirrime, Gardner and Shah work with resonant materials that speak to the past while enabling the past to speak to the present. Kenya-based, Shah’s personally charged materials include paper, saree, bindis and block printing which she vividly combines using textures, colors and forms, the sum total creating new narratives and perspectives for her inner voice. DC-based Booker is influenced by the coded and colorful history of quilts, referencing them as sign markers, shields, portals and gateways to help secure safe passage to a parallel utopic, afro-futuristic community, what the artist has called “Afrotopia.” Intensely layering marks of fineliner pen, color pencil, collage and fabric, Booker conjures complex, multidimensional figurative works, his figures and forms cohereing together out of countless small acts.

Mozambican artist Chirrime sources scrap materials from her environment and immediate communities, using fabric, burlap, rope, paint, beads, leather and more to produce dynamic collages that speak to African womanhood, and more broadly, the human condition. Slicing and collaging Western printed media, Trinidad and Tobago-based Gardner appropriates both content and practice, “creating false images and out-of-context narratives” that ironically and seductively mirror the Western world’s misrepresentation of people of color. Likewise taking a critical, redemptive eye to Western mass media, Myers Bulmash’s “Not Geo” series, a cutting play on National Geographic’s nickname, seeks to rehabilitate and restore to dignity the publication’s now notorious rendering of Africans and other non-Western people.

Overall, a sense of construction charges the works in Creating a New Whole, whether that be the notion of renovating the present and past or extending out of the frame into sculptural dimensions. The latter can be seen in the sculptural geometric-like works of Robles-Gordon (pieces the artist recognizes as “temples, places of spiritual practice” and which reference her larger textile installations) and Kuroo, inspired by the tradition of origami in his native Japan, whose thickly layered applications of paint and canvas exist on the boundary between painting and three-dimensional art.

Abidingly constructive in spite of their rigorous interventions, the works in Creating a New Whole end up with more than they started with as a matter of process.

Michael Andrew Booker (b. USA) is a mixed media artist originally from Jackson, Mississippi who currently resides in Maryland. He received his BFA in Studio Art – Painting from Mississippi State University in 2008, and received his MFA in Studio Art from University of Maryland in 2012. He has exhibited in various galleries across Mississippi, Alabama, North Carolina, Maine, Maryland, Virginia and Washington DC. His work has been acquired by the David C. Driskell Center in College Park, MD. Currently, he is an Assistant Professor of Art at Montgomery College Takoma Park/Silver Spring.Booker has been represented by Morton Fine Art in Washington, DC since 2019.

Lisa Myers Bulmash (b. USA) is a collage and book artist who works primarily in acrylics, paper and found objects. Informally trained, Myers Bulmash began her career making handmade cards. After her father’s death in 2006, the artist felt compelled to take more personal risks in her creative life. Questions of identity, trust and the imperfect memory now drive most of her work. The artist aims to nudge the viewer into recognizing our shared stories, especially those narratives that are usually experienced in isolation.Myers Bulmash exhibits her work in group and solo shows throughout the Seattle metro area. On the East Coast, Myers Bulmash has been represented by Morton Fine Art Gallery in Washington, DC since 2020.

Lizette Chirrime (b. Mozambique) creates intricate fabric collages on canvas that are at once celebratory and soul-stirring, as the artist flirts between figuration and abstraction to develop a unique—and distinctly African—visual language. Stitching together printed fabrics, beads, and other familiar objects in Southern Africa, Chirrime transforms simple materials into autobiographical and narrative tableaux freighted with deeply felt emotion and patterns of meaning. Many of her collages center maternal figures and stories of African motherhood, honoring their millennia-long legacy of strength and grace and positing their representation as a symbolic device.After receiving a three-month residency at Greatmore Studios in Cape Town in 2005, Chirrime spent the next 16 years of her practice in South Africa. In 2021, she made a return to her home country of Mozambique, where she now lives and continues to create.She has been represented by Morton Fine Art since 2021.

GA Gardner (b. 1969, Republic of Trinidad and Tobago) uses print media content to create an intimate viewpoint of his intercultural experience. Through the lens of his Caribbean heritage, he dissects, covers up, reveals, layers, and re-contextualizes the material in the print publications he uses, to construct pieces that specifically discuss issues of politics, race, culture, and identity.The publications are a natural fit for Gardner, as they offer random vibrant color palettes, much like that of a typical Caribbean environment, and a great mixture of text and professionally photographed images. However the colors are universal and allow a conceptual approach to finding the common ground among all cultures. The artist combines these media depictions and information with natural paper and synthetic materials to aid in his message. By deconstructing the images into strips, or bits of torn paper, and assigning new overlays of unifying colors to the materials, Gardner erodes the original content at various levels often reducing them to shades with traces of random colors. The image that was once a bold headline new banner, or the newest eye catching product now struggles to be seen; muted, it now plays a secondary role to layers of paint and other mediums. The resulting serendipitous visual construction is an unsystematic reconfiguration and re-purposing to discuss culture, heritage and the symbolism of color.He has been represented by Morton Fine Art since 2012.

Hiromitsu Kuroo (b. Japan) is a Japanese collage painter working in the tradition of origami. In his work, the canvas serves as the paper, and the gentle manipulation of its surface conveys intricate textural landscapes. The multiple layers of colors in his folded canvases are revealed by sanding the canvas surface. Interested in the juxtaposition and vitality of collaged pieces of canvas, he uses them to accentuate other emerging shapes in his compositions.Kuroo earned both a BFA and MFA from Tohoku University of Art & Design and has had solo exhibitions at the New York based Tenri Cultural Institute, Gloria Kennedy Gallery, MIKIMOTO NY, Makari and Bronx Community College, as well as the Tokyo-based Gallery Yamaguchi and G-Art Gallery. He was awarded Pollock-Krasner Foundation Grants in 2010 and 2019, Adolph & Esther Gottlieb Foundation Grant in 2022 and the artist residency program for The Golden Foundation in 2019. In 2020, he was interviewed for Forbes Magazine. He has been represented by Morton Fine Art since 2022.

Amber Robles-Gordon (b. Puerto Rico) completed her Masters of Fine Arts from Howard University in November 2011, where she has received annual awards and accolades for her artwork. Her exhibitions and artwork has been reviewed and/or featured in many esteemed publications including the Washington Post, the Miami Herald, Huffington Post and Callaloo Art & Culture in the African Diaspora.Robles-Gordon was commissioned to create temporary and permanent public art installations for numerous art fairs and agencies such as the DC Commission on the Arts and Humanities, DCCAH; Northern Virginia Fine Arts Association (NVFAA); Humanities Council of Washington, D.C.; Howard University, James C. Porter Colloquium; Schomburg Center for Research in Black Culture; the Washington Projects for the Arts; Salisbury University; Martha’s Table; DC Department of General Services and Democracy Fund.Additionally, she has been commissioned to teach workshops, give commentary and present about her artwork by the Smithsonian Anacostia Museum; Luther College; WETA Television; Al Jazeera; WPFW 89.3 fm; WAMU | American University Radio; The Kojo Nnamdi Show; Howard University, James A. Porter Colloquium; David C. Driskell Center; the Phillips Collection; the African American Museum in Philadelphia; McDaniel College; Salisbury University; Harvey B. Gantt Center; American University and National Museum of African American History and Culture. Her solo exhibition, Successions: Traversing US Colonialism, curated by Larry Ossei-Mensah, was hosted by the American University Museum at the Katzen Arts Center in 2021. She has been represented by Morton Fine Art since 2016.

Prina Shah (b. 1973, Kenya) is a contemporary artist currently living in Nairobi, Kenya. Born in Kenya to Indian parents, Shah also grew up partially in the U.K.; her artistic work embraces the indeterminacy of her national identity, including a fascination with the formation of selfhood as it relates to a specific cultural context. In a creative practice spanning mixed media—including sculpture, painting, glasswork and less traditional materials such as human hair—Shah’s art challenges the notions of individualized identity within a communal whole. Shah uses meditation as the impetus and foundation of her work, drawing the viewer into a personal narrative and inviting the participant to share in her visual journey of interconnection as she explores what it means to be one among many.Shah’s work has been included in numerous national and international exhibitions and has been acquired by the permanent collections of Finland’s Poikilo Kouvola Art Museum and the I&M Bank Collective in Kenya, as well as numerous private collections. She has been represented by Morton Fine Art since 2022.

Art Plugged | Creating a New Whole | Collage Exhibition at Morton Fine Art

15 Jan

Creating A New Whole: A Group Exhibition of Collage Artwork

GA Gardner - Long Painful Way, 2020

Creating A New Whole: A Group Exhibition of Collage Artwork
Featuring 
Michael Andrew Booker, Lizette Chirrime, GA Gardner, Hiromitsu Kuroo, Lisa Myers Bulmash, Amber Robles-Gordon and Prina Shah.
Morton Fine Art
January 4 to February 4, 2023
Morton’s Washington D.C. space
(52 O St NW #302)

Morton Fine Art is pleased to announce Creating a New Whole, a group exhibition of collage artwork by Michael Andrew BookerLizette ChirrimeGA Gardner, Hiromitsu KurooLisa Myers BulmashAmber Robles-Gordon and Prina Shah. Ranging in techniques, approaches and materials—from quilting, tapestry, fabric, paint and appropriated mass media—the artists in Creating a New Whole exemplify collage’s invitation to what Myers Bulmash has recognized as “a process of purposefully taking things out of context.”

Constructing new contexts, forms and wholes, these artists’ practices are frequently as generative as much as they are reparative, seeking to draw connections to what was absent or ignored in their elements’ original context(s). Creating a New Whole, will be on view from January 4 to February 4, 2023 at Morton’s Washington, D.C. space (52 O St NW #302).

Creating A New Whole: A Group Exhibition of Collage Artwork - Prina-Shah
Prina Shah
Untitled, 2022 25 x 25 in.Paper,
sarees, bindis, block printing and acrylic on canvas

Continuing quilting techniques practiced by their respective ancestors, Booker, Chirrime, Gardner and Shah work with resonant materials that speak to the past while enabling the past to speak to the present. Kenya-based, Shah’s personally charged materials include paper, saree, bindis and block printing which she vividly combines using textures, colors and forms, the sum total creating new narratives and perspectives for her inner voice.

DC-based Booker is influenced by the coded and colorful history of quilts, referencing them as sign markers, shields, portals and gateways to help secure safe passage to a parallel utopic, afro-futuristic community, what the artist has called “Afrotopia.” Intensely layering marks of fineliner pen, color pencil, collage and fabric, Booker conjures complex, multidimensional figurative works, his figures and forms cohereing together out of countless small acts.

Mozambican artist Chirrime sources scrap materials from her environment and immediate communities, using fabric, burlap, rope, paint, beads, leather and more to produce dynamic collages that speak to African womanhood, and more broadly, the human condition.

Slicing and collaging Western printed media, Trinidad and Tobago-based Gardner appropriates both content and practice, “creating false images and out-of-context narratives” that ironically and seductively mirror the Western world’s misrepresentation of people of color. Likewise taking a critical, redemptive eye to Western mass media, Myers Bulmash’s “Not Geo” series, a cutting play on National Geographic’s nickname, seeks to rehabilitate and restore to dignity the publication’s
now notorious rendering of Africans and other non-Western people.

Lizette Chirrime
The Boy Who Stopped the Snake, 2014
58 x 50 in. Fabric collage

Overall, a sense of construction charges the works in Creating a New Whole, whether that be the notion of renovating the present and past or extending out of the frame into sculptural dimensions. The latter can be seen in the sculptural geometric-like works of Robles-Gordon (pieces the artist recognizes as “temples, places of spiritual practice” and which reference her larger textile installations) and Kuroo, inspired by the tradition of origami in his native Japan, whose thickly layered applications of paint and canvas exist on the boundary between painting and three-dimensional art.

Abidingly constructive in spite of their rigorous interventions, the works in Creating a New Whole end up with more than they started with as a matter of process.

Learn more

©2023 Morton Fine Art

Bmore Art | Creating a New Whole | Group Collage Exhibition at Morton Fine Art

13 Jan


BACK TO CALENDAR

Creating a New Whole

Saturday, January 14
Opening Reception 2-4pm

Exhibition opening : Saturday, January 14, 2023 from 2-4pm. Several artists will be in attendance. RSVP to info@mortonfineart.com 

Morton Fine Art is pleased to announce Creating a New Whole, a group exhibition of collage artwork by Michael Andrew Booker, Lizette Chirrime, GA Gardner, Hiromitsu Kuroo, Lisa Myers Bulmash, Amber Robles-Gordon and Prina Shah. Ranging in techniques, approaches and materials—from quilting, tapestry, fabric, paint and appropriated mass media—the artists in Creating a New Whole exemplify collage’s invitation to what Myers Bulmash has recognized as “a process of purposefully taking things out of context.” Constructing new contexts, forms and wholes, these artists’ practices are frequently as generative as much as they are reparative, seeking to draw connections to what was absent or ignored in their elements’ original context(s). Creating a New Whole, will be on view from January 4 to February 4, 2023 at Morton’s Washington, D.C. space (52 O St NW #302).

Continuing quilting techniques practiced by their respective ancestors, Booker, Chirrime, Gardner and Shah work with resonant materials that speak to the past while enabling the past to speak to the present. Kenya-based, Shah’s personally charged materials include paper, saree, bindis and block printing which she vividly combines using textures, colors and forms, the sum total creating new narratives and perspectives for her inner voice. DC-based Booker is influenced by the coded and colorful history of quilts, referencing them as sign markers, shields, portals and gateways to help secure safe passage to a parallel utopic, afro-futuristic community, what the artist has called  “Afrotopia.” Intensely layering marks of fineliner pen, color pencil, collage and fabric, Booker conjures complex, multidimensional figurative works, his figures and forms cohereing together out of countless small acts.

Mozambican artist Chirrime sources scrap materials from her environment and immediate communities, using fabric, burlap, rope, paint, beads, leather and more to produce dynamic collages that speak to African womanhood, and more broadly, the human condition. Slicing and collaging Western printed media, Trinidad and Tobago-based Gardner appropriates both content and practice, “creating false images and out-of-context narratives” that ironically and seductively mirror the Western world’s misrepresentation of people of color. Likewise taking a critical, redemptive eye to Western mass media, Myers Bulmash’s “Not Geo” series, a cutting play on National Geographic’s nickname, seeks to rehabilitate and restore to dignity the publication’s now notorious rendering of Africans and other non-Western people.

Overall, a sense of construction charges the works in Creating a New Whole, whether that be the notion of renovating the present and past or extending out of the frame into sculptural dimensions. The latter can be seen in the sculptural geometric-like works of Robles-Gordon (pieces the artist recognizes as “temples, places of spiritual practice” and which reference her larger textile installations) and Kuroo, inspired by the tradition of origami in his native Japan, whose thickly layered applications of paint and canvas exist on the boundary between painting and three-dimensional art.

Abidingly constructive in spite of their rigorous interventions, the works in Creating a New Whole end up with more than they started with as a matter of process.LEARN MORE

Morton Fine Art | Creating a New Whole | Group Collage Exhibition | Martin Cid Magazine

11 Jan

Michael Andrew Booker, Support System, 2022 14 x 11 in. Fineliner pen and collage on paper

ART

Out of Context and Into New Forms: Morton Fine Arts Presents Creating a New Whole

A Group Exhibition of Collage Artwork by Michael Andrew Booker, Lisa Myers Bulmash, Lizette Chirrime, GA Gardner, Hiromitsu Kuroo, Amber Robles-Gordon and Prina Shah

BY ART MARTIN CID MAGAZINE

JANUARY 8, 2023

Washington, D.C. – Morton Fine Art is pleased to announce Creating a New Whole, a group exhibition of collage artwork by Michael Andrew BookerLizette ChirrimeGA GardnerHiromitsu KurooLisa Myers BulmashAmber Robles-Gordon and Prina Shah. Ranging in techniques, approaches and materials—from quilting, tapestry, fabric, paint and appropriated mass media—the artists in Creating a New Whole exemplify collage’s invitation to what Myers Bulmash has recognized as “a process of purposefully taking things out of context.” Constructing new contexts, forms and wholes, these artists’ practices are frequently as generative as much as they are reparative, seeking to draw connections to what was absent or ignored in their elements’ original context(s). Creating a New Whole, will be on view from January 4 to February 4, 2023 at Morton’s Washington, D.C. space (52 O St NW #302).

Amber Robles-Gordon , The Temples of My Familiars: Identity Totem, 2019 23 x 17 in. Mixed media collage and found objects on canvas

Continuing quilting techniques practiced by their respective ancestors, BookerChirrimeGardner and Shah work with resonant materials that speak to the past while enabling the past to speak to the present. Kenya-based, Shah’s personally charged materials include paper, saree, bindis and block printing which she vividly combines using textures, colors and forms, the sum total creating new narratives and perspectives for her inner voice. DC-based Booker is influenced by the coded and colorful history of quilts, referencing them as sign markers, shields, portals and gateways to help secure safe passage to a parallel utopic, afro-futuristic community, what the artist has called “Afrotopia.” Intensely layering marks of fineliner pen, color pencil, collage and fabric, Booker conjures complex, multidimensional figurative works, his figures and forms cohereing together out of countless small acts.

Mozambican artist Chirrime sources scrap materials from her environment and immediate communities, using fabric, burlap, rope, paint, beads, leather and more to produce dynamic collages that speak to African womanhood, and more broadly, the human condition. Slicing and collaging Western printed media, Trinidad and Tobago-based Gardner appropriates both content and practice, “creating false images and out-of-context narratives” that ironically and seductively mirror the Western world’s misrepresentation of people of color. Likewise taking a critical, redemptive eye to Western mass media, Myers Bulmash’s “Not Geo” series, a cutting play on National Geographic’s nickname, seeks to rehabilitate and restore to dignity the publication’s now notorious rendering of Africans and other non-Western people.

Lisa Myers Bulmash, Not Geo – Sitting Man, 2021 12 x 9 in. Ink, hand-marbled and rice paper collage on watercolor paper

Overall, a sense of construction charges the works in Creating a New Whole, whether that be the notion of renovating the present and past or extending out of the frame into sculptural dimensions. The latter can be seen in the sculptural geometric-like works of Robles-Gordon

(pieces the artist recognizes as “temples, places of spiritual practice” and which reference her larger textile installations) and Kuroo, inspired by the tradition of origami in his native Japan, whose thickly layered applications of paint and canvas exist on the boundary between painting and three-dimensional art.

Abidingly constructive in spite of their rigorous interventions, the works in Creating a New Whole end up with more than they started with as a matter of process.

Lizette Chirrime, Synchronization in the Blood, 2022 38.50 x 60.50 in. Fabric and mixed media stitched on canvas

Morton Fine Art

Founded in 2010 in Washington D.C. by curator Amy Morton, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that art collecting can be cultivated through an educational stance, MFA’s mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice. Morton Fine Art specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African Diaspora.

Michael Andrew Booker (b. USA) is a mixed media artist originally from Jackson, Mississippi who currently resides in Maryland. He received his BFA in Studio Art – Painting from Mississippi State University in 2008, and received his MFA in Studio Art from University of Maryland in 2012. He has exhibited in various galleries across Mississippi, Alabama, North Carolina, Maine, Maryland, Virginia and Washington DC. His work has been acquired by the David C. Driskell Center in College Park, MD. Currently, he is an Assistant Professor of Art at Montgomery College Takoma Park/Silver Spring.

Booker has been represented by Morton Fine Art in Washington, DC since 2019.

Lisa Myers Bulmash (b. USA) is a collage and book artist who works primarily in acrylics, paper and found objects. Informally trained, Myers Bulmash began her career making handmade cards. After her father’s death in 2006, the artist felt compelled to take more personal risks in her creative life. Questions of identity, trust and the imperfect memory now drive most of her work.

The artist aims to nudge the viewer into recognizing our shared stories, especially those narratives that are usually experienced in isolation.

Myers Bulmash exhibits her work in group and solo shows throughout the Seattle metro area. On the East Coast, Myers Bulmash has been represented by Morton Fine Art Gallery in Washington, DC since 2020.

Lizette Chirrime (b. Mozambique) creates intricate fabric collages on canvas that are at once celebratory and soul-stirring, as the artist flirts between figuration and abstraction to develop a

unique—and distinctly African—visual language. Stitching together printed fabrics, beads, and other familiar objects in Southern Africa, Chirrime transforms simple materials into autobiographical and narrative tableaux freighted with deeply felt emotion and patterns of meaning. Many of her collages center maternal figures and stories of African motherhood, honoring their millennia-long legacy of strength and grace and positing their representation as a symbolic device.

After receiving a three-month residency at Greatmore Studios in Cape Town in 2005, Chirrime spent the next 16 years of her practice in South Africa. In 2021, she made a return to her home country of Mozambique, where she now lives and continues to create.

She has been represented by Morton Fine Art since 2021.

GA Gardner (b. 1969, Republic of Trinidad and Tobago) uses print media content to create an intimate viewpoint of his intercultural experience. Through the lens of his Caribbean heritage, he dissects, covers up, reveals, layers, and re-contextualizes the material in the print publications he uses, to construct pieces that specifically discuss issues of politics, race, culture, and identity.

The publications are a natural fit for Gardner, as they offer random vibrant color palettes, much like that of a typical Caribbean environment, and a great mixture of text and professionally photographed images. However the colors are universal and allow a conceptual approach to finding the common ground among all cultures. The artist combines these media depictions and information with natural paper and synthetic materials to aid in his message. By deconstructing the images into strips, or bits of torn paper, and assigning new overlays of unifying colors to the materials, Gardner erodes the original content at various levels often reducing them to shades with traces of random colors. The image that was once a bold headline new banner, or the newest eye catching product now struggles to be seen; muted, it now plays a secondary role to layers of paint and other mediums. The resulting serendipitous visual construction is an unsystematic reconfiguration and re-purposing to discuss culture, heritage and the symbolism of color.

He has been represented by Morton Fine Art since 2012.

Hiromitsu Kuroo (b. Japan) is a Japanese collage painter working in the tradition of origami. In his work, the canvas serves as the paper, and the gentle manipulation of its surface conveys intricate textural landscapes. The multiple layers of colors in his folded canvases are revealed by sanding the canvas surface. Interested in the juxtaposition and vitality of collaged pieces of canvas, he uses them to accentuate other emerging shapes in his compositions.

Kuroo earned both a BFA and MFA from Tohoku University of Art & Design and has had solo exhibitions at the New York based Tenri Cultural Institute, Gloria Kennedy Gallery, MIKIMOTO NY, Makari and Bronx Community College, as well as the Tokyo-based Gallery Yamaguchi and G-Art

Gallery. He was awarded Pollock-Krasner Foundation Grants in 2010 and 2019, Adolph & Esther Gottlieb Foundation Grant in 2022 and the artist residency program for The Golden Foundation in 2019. In 2020, he was interviewed for Forbes Magazine. He has been represented by Morton Fine Art since 2022.

Amber Robles-Gordon (b. Puerto Rico) completed her Masters of Fine Arts from Howard University in November 2011, where she has received annual awards and accolades for her artwork. Her exhibitions and artwork has been reviewed and/or featured in many esteemed publications including the Washington Post, the Miami Herald, Huffington Post and Callaloo Art & Culture in the African Diaspora.

Robles-Gordon was commissioned to create temporary and permanent public art installations for numerous art fairs and agencies such as the DC Commission on the Arts and Humanities, DCCAH; Northern Virginia Fine Arts Association (NVFAA); Humanities Council of Washington, D.C.; Howard University, James C. Porter Colloquium; Schomburg Center for Research in Black Culture; the Washington Projects for the Arts; Salisbury University; Martha’s Table; DC Department of General Services and Democracy Fund.

Additionally, she has been commissioned to teach workshops, give commentary and present about her artwork by the Smithsonian Anacostia Museum; Luther College; WETA Television; Al Jazeera; WPFW 89.3 fm; WAMU | American University Radio; The Kojo Nnamdi Show; Howard University, James A. Porter Colloquium; David C. Driskell Center; the Phillips Collection; the African American Museum in Philadelphia; McDaniel College; Salisbury University; Harvey B. Gantt Center; American University and National Museum of African American History and Culture. Her solo exhibition, Successions: Traversing US Colonialism, curated by Larry Ossei-Mensah, was hosted by the American University Museum at the Katzen Arts Center in 2021. She has been represented by Morton Fine Art since 2016.

Prina Shah (b. 1973, Kenya) is a contemporary artist currently living in Nairobi, Kenya. Born in Kenya to Indian parents, Shah also grew up partially in the U.K.; her artistic work embraces the indeterminacy of her national identity, including a fascination with the formation of selhood as it relates to a specific cultural context. In a creative practice spanning mixed media—including sculpture, painting, glasswork and less traditional materials such as human hair—Shah’s art challenges the notions of individualized identity within a communal whole. Shah uses meditation as the impetus and foundation of her work, drawing the viewer into a personal narrative and inviting the participant to share in her visual journey of interconnection as she explores what it means to be one among many.

Shah’s work has been included in numerous national and international exhibitions and has been acquired by the permanent collections of Finland’s Poikilo Kouvola Art Museum and the I&M Bank Collective in Kenya, as well as numerous private collections. She has been represented by Morton Fine Art since 2022.

Michael Andrew Booker. Sonder Gardens, 2022. 18 x 13 in. Fineliner pen, color pencil, fabric and collage on paper

Available Artwork by MICHAEL ANDREW BOOKER, LISA MYERS BULMASH, LIZETTE CHIRRIME, GA GARDNER, HIROMITSU KUROO, AMBER ROBLES-GORDON, and PRINA SHAH.

Artist JENNY WU paints and sculpts her piece “70 Year Old Intern Waiting for His First Real Job”

6 Jan

JENNY WU’s solo exhibition “Ai Yo!” runs February 8 – March 8, 2023 at Morton Fine Art in Washington, DC.

Featured here: Jenny Wu’s 70 Year Old Intern Waiting for His First Real Job”, 2022, 36″x24″, latex paint and resin on wood panel.

Visit www.mortonfineart.com for available artwork by Jenny Wu.

LIZ TRAN | Art Plugged

8 Dec

Liz Tran: Matriarchs and Daughters Dream Oceans of Braille

Exhibitions

·

Last updated:December 8, 2022

Liz Tran Mirror 5

Liz Tran: Matriarchs and Daughters Dream Oceans of Braille
December 9, 2022 to January 6, 2023
Homme DC
2000 L ST NW
Washington, DC 20036
US

Morton Fine Art, in collaboration with Homme DC, is pleased to present Matriarchs and Daughters Dream Oceans of Braille, an exhibition of polychromatic inkblot prints and Heirloom (2022), a new 17-foot wall-mounted installation, by artist Liz Tran. Matriarchs and Daughters Dream Oceans of Braille will be on view by appointment from December 9, 2022 to January 6, 2023 at Homme DC’s Washington, D.C. space (2000 L ST NW).

Liz Tran
Baby Father, 2019
Liz Tran Baby Father, 201924 x 24 in. Mixed media on panel
Courtesy Morton Fine Art and the artist

Inspired by early memories of the artist being administered Rorschach tests — a psychological evaluation of mental health and trauma through associative responses to inkblots — Tran transforms and transports the familiar monochromatic prints into a world of vibrant, technicolor panels that explore the nature of viewer subjectivity. Featuring work from her Mirror and Cosmic Circle series, Matriarchs and Daughters Dream Oceans of Braille is an explosion of colorful dots, circles, blot, and splashes that accumulate on the panel and create a thickened impasto.

Varying her compositions from symmetrical renderings–like a Rorschach print–to others more liberally abstracted, Tran’s works challenge the notion of a correct way to view art. Like the well-known psychological test, Tran’s art performs an introspective function in which the viewer’s interpretation is self-reflexive and can facilitate self-knowledge.

Liz Tran-Heirloom
Liz Tran – Heirloom, 2022 Mixed media fiber collage installation 198 x 53 in.
Courtesy Morton Fine Art and the artist

Lovingly sewn by her quilt-making mother, with whom Tran often collaborates, Heirloom encapsulates fabric culled from voyages, memories and installations created around the world. Tran views Heirloom as an homage to her artistic practice and a tribute to the women who came before her. From the curtains of a circus tent, an oversized fiber womb encased in a vintage trailer or a space suit onesie–each piece of fabric contains a distinct story.

“As I found myself delving into the history of my own mental health, I began to simultaneously study perception and subjectivity both in visual art and psychology,” said Tran. “What do we bring to what we see? The viewer’s experience of my work is completely different than my own, yet that experience is equally valid. Is what we see simply a reflection of our self?”

Liz Tran
Mirror 8, 202054 x 27 in.
Mixed media on panel
Courtesy Morton Fine Art and the artist

Opening the door into a meditative and healing atmosphere, Matriarchs and Daughters Dream Oceans of Braille actively encourages personal interpretation and projections of meaning. Through a form of abstraction that combines precision and instinct, Tran’s joyful works imagine dreamlike surfaces to question the nature of abstraction and our responses to visual stimuli, whether that be art on the white walls of a gallery or observations of planets and stars circling overhead.

Learn more about Liz Tran

©2022 Liz Tran, Morton Fine Art

Available Artwork by LIZ TRAN

Art plugged

Art Plugged is a contemporary platform inspired by a relationship with the broader arts communities. We provide our audience with curated insight into the world of art, from exhibitions to artist interviews and more.

Artnet Interview | Amy Morton of Morton Fine Art

5 Dec
Gallery Network

7 Questions for Washington, D.C. Gallerist Amy Morton on the Capital Art Scene’s International Flavor

Morton Fine Art has championed diverse artistic voices for over a decade.

Artnet Gallery Network, December 2, 2022

Gallerist Amy Morton, owner of Morton Fine Art, Washington, DC. Courtesy of Amy Morton. Photo: Jarrett Hendrix.
Gallerist Amy Morton, owner of Morton Fine Art, Washington, DC. Courtesy of Amy Morton. Photo: Jarrett Hendrix.

Gallerist and curator Amy Morton is the founder and owner of Morton Fine Art, a stalwart fixture of the Washington, D.C., art scene. Recognized for its diverse roster of national and international artists, Morton Fine Art—and by extension, Morton herself—has developed a reputation for its thought-provoking exhibition program, and a specific emphasis on art and artists of the African and Global Diaspora. Morton Fine Art has also shown a strong commitment to exhibiting female artists, and the gallery’s current presentation is a solo show of work by Katherine Hattam, which is on view through December 20, 2022.

Morton has cultivated strong relationships both with the artists she represents (refusing hierarchy and referring to them as her partners) and collectors, for whom she strives to craft an accessible and educational experience. The result has been Morton Fine Art’s ability to consistently place museum-quality contemporary art in both private and public collections for over a decade.

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We recently spoke with Morton to talk about establishing her gallery, the current exhibition, and what’s to come in 2023.

You founded Morton Fine Art in 2010. Can you tell us about your background and what led you to open the gallery? What first drew your interest to the arts?

I come from a line of under-recognized female artists on both sides of my family. My parents, although divorced, both exposed my sister and I to performing arts, music, and other cultural mediums when we were children. The occasional trip to view a museum exhibition was always a big deal in our household. My mom and I used to create drawings together at the kitchen table—what I always considered a continuing story between mother and daughter. All that noted, I didn’t know I was destined for a career in the arts until high school: I walked into an art history class and was changed. I took my first gallery job when I was 17. By the time I graduated from Occidental College in Los Angeles at 21, I had interned and worked at auction houses on both coasts, at art galleries local and national, and for a renowned New England artist association. Oddly, at that juncture, I had not yet found my niche in the art world, and it finally felt right when I opened my own gallery in 2010. With Morton Fine Art, I could amplify original artistic voices that I feel are simultaneously timeless and timely, substantive and layered.

Since the opening of the gallery, what are some of the biggest lessons you’ve learned? Do you have any advice for young gallerists just starting out?

I’ve learned many lessons and believe I will continue to for the foreseeable future. Agility has been my best posture, and I would advise young gallerists to consider the same. There is still space to do things differently, and it is important not to get lost comparing or measuring yourself against other galleries or business models.

What are some of your guiding principles as a gallerist? How is this reflected in the artists you represent and exhibitions you show?

I often joke that I am allergic to hierarchy. I believe that empowerment through education and a comfortable environment are wonderful tools of connection and understanding. Visual art is a natural way to advance conversations and ideas, and I strive to provide a gallery environment that sometimes feels more like a salon—a place that supports exploration, emotional honesty, and growth, and doesn’t enhance insecurity. My artist partners are technically masterful in their respective mediums and integrate lasting conceptual and philosophical elements that activate the imagination. Washington, D.C., is an international city, and it follows that my gallery’s programming spans many global conversations, including social justice, environmental justice, reconciliation, and personal themes.

The art world has undergone a number of transformations since 2010. Have you noticed any trends or have any predictions, good or bad, that you find particularly interesting or significant?

It will continue to be an interesting time ahead. As a Washington, D.C.-based gallery, our pulse is always intertwined with politics—local, national, and international—and therefore the art created here is remarkably relevant. I love this aspect of the city, as there is always more to learn and contend with. Increased collector confidence in online browsing and acquisitions has also been an asset for us “secondary city” gallerists. While not a global trend yet, I have long wished for a more energized focus and interest in Washington, D.C.’s art community and all we offer.

Katherine Hattam, The Great American Novel (2022). Courtesy of Morton Fine Art and the artist.

Katherine Hattam, The Great American Novel (2022). Courtesy of the artist and Morton Fine Art.

Morton Fine Art is currently showing “Katherine Hattam: Strange Country, Strange Times,” which is on view through December 20, 2022. Can you tell us about the show?

Katherine Hattam is a well-established Australian artist having her first U.S. solo here at Morton Fine Art. We have worked together for over a decade, so it is a great honor to share so much of her incredible artwork in one exhibition.

As an artist, Hattam incorporates literary and art-historical elements in her work, focusing on materialist explorations of ultimately psychic space. Her practice is a lifelong investigation into domestic interiors: brightly shaded walls and windows, collaged book spines, and iconographic depictions of native Australian flora and fauna make up much of Hattam’s focus. Acknowledging a centuries-long preoccupation with domestic space as both the imaginative site and societal bounds of female artistic production, Hattam’s totemic kitchen tables and charged dining room chairs recur as motifs, doubly imbued as locations of domestic labor and sites of longing.

For the current exhibition, Hattam has also included several spectacular prints—some of them jigsaw woodblock prints—that she created from 2000 to 2021.

Katherine Hattam, A Strange Country (2022). Courtesy of Morton Fine Art and the artist.

Katherine Hattam, A Strange Country (2022). Courtesy of the artist and Morton Fine Art.

With New Year’s just around the corner, what are you looking forward to in 2023? Are there any forthcoming exhibitions or other gallery plans that you can share?

2023 is going to be another great year! Morton Fine Art will have solo exhibitions with Jenny Wu (born in China; lives and works in Hartford), Vonn Cummings Sumner (born in San Francisco; based in Los Angeles), Meron Engida (born in Ethiopia; based in Washington, D.C.), Andrei Petrov (born and based in New York), Maliza Kiasuwa (born in Bucharest of European and African descent; lives and works in Nairobi), Katherine Tzu-Lan Mann (Washington, D.C.-based), Amber Robles-Gordon (born in Puerto Rico; based in Washington, D.C.), Hannelie Coetzee (born in South Africa; based in Johannesburg), Hiromitsu Kuroo (born in Japan; lives and works in Iruma, Japan) and Prina Shah (born in Kenya; lives and works in Nairobi), as well as a group exhibition focusing on the medium of collage.

If you were not a gallerist, what would you be doing?

Excellent question and one that I have entertained a few brief times in my career. Nothing else ever screamed out at me, so I would guess a preschool/elementary school educator, or advocate for a niche of sustainable living.

Learn more about Morton Fine Art’s exhibition program here.
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http://www.mortonfineart.com

KATHERINE HATTAM | Martin Cid Magazine

17 Nov

Paintings and Prints by Katherine Hattam Showcase Places of the Mind in the Wake of Isolation

The Australian artist’s new work reflects on the comforts of solitude and the peculiarities of her enclosed island state

Art Martin Cid MagazineBy Art Martin Cid Magazine

Updated: November 14, 2022

Katherine Hattam A Strange Country, 2022 49 x 60.5 in. Mixed media on linen Courtesy Morton Fine Art and the artist

Washington, D.C. – Morton Fine Art is pleased to present Strange Country, Strange Times, a solo exhibition of paintings and prints by the artist Katherine Hattam. Incorporating literary and art-historical elements into her work, Hattam’s interiors offer materialist explorations of ultimately psychic space. The artist’s first solo exhibition in the U.S., Strange Country, Strange Times will be on view from November 16 – December 20, 2022 at Morton Fine Art’s Washington, D.C. space.

Katherine Hattam Perhaps, 2022 21.5 x 25.5 in Mixed media on linen Courtesy Morton Fine Art and the artist

Brightly shaded walls and windows, collaged book spines and iconographic depictions of native Australian fauna and flora make up much of Hattam’s painterly practice, a lifelong investigation with the domestic interior as its focus. Acknowledging a centuries-long preoccupation with domestic space as both the imaginative site and societal bounds of female artistic production, Hattam’s totemic kitchen tables and charged dining-room chairs recur as motifs throughout her artistic practice, doubly imbued as locations of domestic labor and sites of imaginative longing. Often, windows look out onto fantastic landscapes – a rueful rumination on experiences proffered but withheld.

In Strange Country, Strange Times, the vibrancy of Hattam’s window-views infiltrates into the domestic interior, reflecting the seeping isolation of the recent pandemic years, when means of travel and discovery were often confined to the mind. Hattam was well-equipped for such conditions: her domestic spaces have always been inveterately imaginative, expanded by (and often literally constructed from) the pages and covers of the books she’s been reading. Her frank pastiche of passing literary and artistic influences onto these interior landscapes discloses the extent to which Hattam views the perception of space as an inherently psychological construction, with internal influences and personal histories governing the way we make sense of even the most familiar room.

Katherine Hattam The Pinch, 2022 30 x 22 in. Jigsaw woodblock print on paper Edition 14/15 Courtesy Morton Fine Art and the artist

In 2019, Hattam received a fellowship grant to study at the Australian Print Workshop under master printer Martin King, where she began learning the method of jigsaw woodcut printing, a technique of classical Japanese art that was later adopted by Edvard Munch and Paul Gauguin. Several works in this exhibition were first made at that workshop in the months immediately preceding the pandemic. One of this show’s title works, Strange Country, sets Australian animal life in a landscape originally taken from Giotto. Reflecting on these portentous prints, Hattam notes that the pandemic allowed her to recognize the isolation implicit to living in Australia, a condition of being which she has often imposed into her art. Hokusai’s Great Wave off Kanagawa (1831), another woodblock print, is insterted regularly throughout Hattam’s work here, alternately as window views or paintings-within-paintings, and represents for the artists a mentality of time – waves of feminism, waves of coronavirus – that embraces natural rhythms based on a sense of tidal flow.

A longstanding image for Hattam is that of a wood-backed dining room chair, which the artist has drawn and even reconstructed as sculpture since the 1990s. The persistence of chairs, tables and books stand in for family members and personal influences, like portraits in absentia. Despite the inveterate cerebrality of her interior compositions, Hattam insists that her works are always “about actually being there: they exist because someone has been there to see it.” Her furniture, despite its symbolically potency and personal resonance, is also steadfastly literal, and represents a window into the broader material world. Through her compositions, Hattam asks: How much of one’s daily life is a mixture of what’s going on in your head and what’s going on outside?

Katherine Hattam headshot Courtesy Morton Fine Art and the artist. Photo credit: Clare Rae

Katherine Hattam (b. 1950) is a Melbourne-based Australian artist. Literature was a passion for Hattam’s mother, who first read Freud in adolescence, later passing her appreciation down to her daughter. Hattam graduated from Melbourne University in 1974 with a BA in Literature and Politics and a focus on psychoanalytic theory. Literary references abound in her work; some of the books used in her compositions derive from her mother’s extensive collection, while others are scoured from second-hand stores. Works on paper – drawing, printmaking and collage – are a continuing thread in her practice. Hattam’s work is in the collections of the National Gallery of Australia, National Gallery of Victoria, Queensland Art Gallery, University of Queensland, Queensland University of Technology, Artbank, Heide, Art Gallery of South Australia, Deakin and La Trobe Universities, Warrnambool Art Gallery and Bendigo Art Gallery. In 1992 she was awarded an MFA by the Victorian College of the Arts, and in 2004 she was awarded a PhD by Deakin University. She has been represented by Morton Fine Art since 2011.

Katherine Hattam This Strange Island, 2022 31 x 23 in. Mixed media on linen Courtesy Morton Fine Art and the artist

Morton Fine Art

Founded in 2010 in Washington D.C. by curator Amy Morton, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that art collecting can be cultivated through an educational stance, MFA’s mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice. Morton Fine Art specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African Diaspora.

Morton Fine Art

52 O St NW #302, Washington, DC 20001