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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.

A HISTORY OF LIFE ON EARTH (2020) | Life flashing before one's eyes, using a more contemporary motif of picture slideshows.

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. Oftentimes, they act as an anchor, keeping us upright, supported, and present.

* Featured in A4 exhibition (Oddball Space, 2021-22).

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.

NIGGAS WITH MBEs/ALPHABET PEOPLE (2020) A satirical reaction to Black 'progressives', 'activists', and 'revolutionaries' accepting imperial awards from the Queen. Morrison reappropriates the derogatory term for the LGBTQ+ Community, 'Alphabet People' (popularised by Dave Chappelle in his 2019 Netflix Special 'Sticks & Stones'), positing that no cluster of letters is worthy of ridicule more than MBE's, OBE's, and CBE's, or what Jaz calls 'glorified Blue Peter Badges'.

COSMIC ASSISTANCE (2020) A 'sequel' to 'Thoughts & Prayers' (2020), and inspired by Da Vinci's 'The Creation of Adam'. Here, Morrison grapples with her faith and divine communication.

2% [TWO-PERCENT] (2020) A reflection on how this year has upended so much of what society has deemed normal. Inspired by Chaos Theory, the static, glitch-like effect has connotations of disruption and brokenness, but the 'fractals' show that there is always a 'method to the madness'. 

* Featured in Postcard Project exhibition (Artists Responding to, 2021).

SEEDTIME x HARVEST (2020) A commentary on cycles. History continues to repeat itself, and within histories are movements, uprisings, and revolutions. Such movements are often a response to acts of injustice and oppression - where many are harmed and sacrificed in the hopes of a greater good. The dead are buried, and, like seeds, their legacy rises up in their name(s). Seedtime and Harvest. And the cycle repeats again.​

NUCLEUS (2020) Inspired by the religious adage that 'every tear is a prayer to God', 'Nucleus' explores emotion as a site of respite and catharsis.

THOUGHTS AND PRAYERS (2020) A satirical take on a now-common response to tragedies. Inspired by theological concepts of the supernatural, it pokes fun at those who engage in Slacktivism, highlighting that words must be accompanied by action. The intent is not enough.

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