{true} Science || science {véritable}

The work follows the fictional premise of a collection of oddly formed heart specimens (Comparative Anatomies) . Each heart is particularly distorted as if a lifetime of emotional experience has left physical imprints––distensions, mutations, unrestrained growth and scars––on the intimate surface of the organ. The small pieces in {TRUE} Science further abstact the specific details of the hearts.

Joey Morgan, Comparative Anatomies
  • Joey Morgan :: True Science
  • Joey Morgan :: True Science
  • Joey Morgan :: True Science
  • Joey Morgan :: True Science
  • Joey Morgan :: True Science
  • Joey Morgan :: True Science
  • Joey Morgan :: True Science
  • Joey Morgan :: True Science
  • Joey Morgan :: True Science
  • Joey Morgan :: True Science
  • Joey Morgan :: True Science
  • Joey Morgan :: True Science
 

(click image to enlarge)


Preliminary studies were first sculpted in clay, then scanned. These basic forms were the armatures for layers of digital painting. The final images were printed on mettallic paper, attached to the top surface of small wooden blocks and then heavily encased in resin. Each block is aproximately 3.5 inches x 5.5 inches x 1.5 inches deep. The works are presented in groupings -- fragments of experience, trauma and joy -- formally cross-referencing Victorian mementos, medical specimens, and pixillated abstractions.

 

{TRUE} science and comparative || anatomies are complementary parts of a 10-year investigation into the persistence of The Romantic Condition.

 

 


(2005)
University of Sherbrooke, curated by Johanne Broulliet,
catalog essay by Marie Perrault, press release by Johanne Broulliet (catalog)

(2006), Darling Foundry, Montréal Canada, director Caroline Andrieux,
guest curated with exhibition essay by Manon Blanchette

(2007) Love and Passion, selected images, Catherine Dianich Gallery, Brattleboro VT

(2009) For Emily [Dickinson], MacKenzie Art Gallery, Regina, Saskatchewan, curated by Tim Long, (permanent collection)

(2009) HeartLand, Toronto International Art Fair, Canada, curated by Jeffrey Spalding.

 

Small groups and individual blocks are held in private collections; a suite of 24 blocks is in the permanent collection of the MacKenzie Art Gallery, Regina, Saskatchewan, Canada.


Marie Perrault
excerpt from essay in the University of Sherbrooke exhibtion catalog: "... the repeated perception of details, of differences, of connections, leading to the identification of further details. In this looped presentation, so to speak, latent convergences and oppositions between images awaken interpretations favouring the proliferation of discontinuities, overlappings, fragmentations, and inconsistencies..."

 

Manon Blanchette, excerpt from text accompanying the exhibition at the Darling Foundry in Montréal: "... details of the previous images covered over and over many times with varnish. Arranged as though a punctuation of a surface, these small paintings express here a rhythm and there is an intensity. Forever both seductive and strange, these abstract images transport us in to a universe in which the imprint of an unknown life remains..."

 

René Viau excerpt from catalog for Centre d'Art Passerelle: "...The artist’s method would consist of blurring the limits, accumulating a confluence of layers and levels. Here, the most varied references dissolve into a maelstrom of often repetitive significations, sensations, and suggestions..."

Joey Morgan True Science

Please contact Joey Morgan at (802) 384-1618 or by email joey.dreamlab@gmail.com.