to die is gain


CLAP FOR THE NHS (2020) The NHS has made a valiant effort in trying to mitigate the effects of the pandemic. However, the Conservative government's response was for the British public to clap outside in the evening, in honour of essential workers. This piece, depicting a range of hands reaching to cover a mouth, addresses how governments weaponise praise to prevent oppressed, exploited, and neglected groups from advocating for themselves lest they be labelled ungrateful.

PEACEFUL PROTEST (2020) A response to criticisms of resistance. The 'fractals' in the ocean represent those who risk their lives for what they believe in - particularly the many enslaved Africans who jumped from American and European ships to escape chattel slavery. This somewhat cynical work suggests that the only true peaceful protest is suicide, as it removes the resisting element, maintaining the status quo.

LIGHT AT THE END OF THE TUNNEL (2020) A pessimistic take on the phrase, 'there's a light at the end of the tunnel'. Created while 'in a hole', Morrison posits that in a world that runs on fear, respite is a de-facto luxury.

BURNING HOUSE (2020) | Inspired by Martin Luther King's haunting quote, 'Burning House' explores the pitfalls of an increasingly integrated global community. After a tumultuous year, where long-brewing tensions reached a head, 2020 has attracted connotations of the 'End Times'. Religious imagery is used to depict the almost-omnipresent sense of tragedy, chaos, and failure.


LATTICE (2020) A reference to the people we meet throughout our lives, and how they make an otherwise plain, insignificant, and even empty life full of energy, vibrance, and purpose. Often times, they act as an anchor, keeping us upright, supported, and present.

OUR GARGOYLES LIVE UNDERWATER (2021)  Shedding light on a personal history marred by displacement, and how such a legacy has led to Diaspora. Standing as a macabre reminder of only one consequence of chattel slavery, the serenity of the ocean is combined with the harsh imagery of gargoyles. Here, Morrison engages the existentialism she felt for most of 2020. Choosing to see herself as her would-be ancestors if they had decided to protest through self-sacrifice, rather than resistance.