The piece was installed in spaces not usually used for exhibition, behind false walls, between exhibition spaces, on close circuit video screens, between walls and the windows outside where the story of Iolantha, from the opera King Rene's Daughter , plays underneath musings and medical reports, between walls broken open to the outside world, and underneath the methodical drip of melting ice.
A song begins the dream - a song in the middle of a fairy tale - as she brings him a white rose instead of a red rose he asked for and he realizes that she's blind.
He tells her of the light she's never seen and she tells him of another world he cannot know and then it ends, another true romance - he convinces her to see and she leaves her world behind.
some stories don't need a real hero.
detail, working drawing for Almost*Dreaming, private collection
I was quite young and just about to fall asleep but I pulled myself suddenly back and realizing the enormity at the edge of my consciousness became rigid with terror until trembling with exhaustion I submitted to a leap of faith that the dailyness of my life would continue
How long have I been like this?
The piece was installed in spaces not usually used for exhibition, behind false walls, between exhibition spaces, on close circuit video screens, between walls and the windows outside.
The lobby video monitor displayed a walk through the building's basement electrics and boiler room intermingled with details from a rose garden; audio works in discrete outlying spaces echoed through the halls; the center rotunda housed a large net with ice dripping onto an industrial soundplate two floors below; sculptural elements overlapped between the installations, building a complex narrative somewhere between a fairy tale and the ordinariness of everyday life.
and then one day I stopped dreaming and I found out they had gone to live on Greenham Common. And they began - cutting patchworks from the barbed wire fencing and sending it back to the Americans and piling their bodies in a heap outside the military gates and flashing their mirrors to try - they said - to turn the missile base inside out. But the transporters just cruised on by.
It was real life, but it sure seemed like a dream.
(1986) site specific installation on three floors of the Vancouver Art Gallery, Vancouver Canada, Curated by Lorna Farrell Ward.
catalog essays by Lorna Farrell Ward and Greg Snider.
I was nearly awake and almost dreaming but with a heart and a will that still controlled the response, when I noticed in a passing glance a window - so that while outside I remained steeled to the faintest gesture, inside I succumbed to desire, but then marking an end in a begining - almost dreaming - soldiered on.
Greg Snider, professor, SImon Fraser University, excerpt from Joey Morgan's Almost*Dreaming, The Space Between the Studio and the Gallery "..the parts continue to dismantle themselves while we are in the very act of reassembling them, then reforming as we try to take them apart... The work resists being taken in a once, but each part reminds us of parts not seen or heard while simultaneously recalling our own seeing and hearing: that is our own reflexive consciousness. The work's mimesis of contemporary culture gives rise to a reflection on that culture in a way that seems spontaneous and affective, as an integral condition of the work.
Part of this expansive character is the absorption and internalization of the building itself. Most specifically the inversion of the interior and exterior, the turning inside out that runs through the piece, constitutes a fiction enthralled in fact..."