Jennifer Morrison

Jennifer Morrison was born in South Africa in 1971, it is here that she began her art studies, and later continued in London, where she graduated from Central Saint Martins College of Art and Design.

Morrison’s work deals predominantly with colour and shape and she uses these elements to explore juxtaposition, repetition, movement and rhythm. Although she has lived in London for two decades, the colours of South Africa have never left her and remain a central influence in her work.

Whether it is a plant or clouds or smudges on a wall, these can all serve as inspiration for her and act as a starting point for a painting. Morrison’s inspiration comes from the world around her and then it becomes something of its own. It is sifted through her memory and her imaginings.

Morrison is interested in weighing accident against deliberation, precision and control against playfulness and abandon. She plays with material, medium and form and through this, an ‘arrangement’ is made. She uses the word ‘arrangement’ to mean a state in which she finds the result to be pleasing in some way. She also means it in the sense that she’s come to some kind of arrangement with the painting itself. Her marks speak back to her and she replies until she feels that the conversation is over. Morrison has always been more interested in colour and shape and materials than in social or political or personal commentary or content. She likes the way that abstraction allows for ambiguity. She doesn’t need or want definitive answers or didactic explanations. Morrison prefers meaning, if it is found at all, to be open. Her work is subjectively driven and is guided largely by intuition.

When she paints she is in control of the process, up to a point. Morrison chooses to relinquish control at certain stages but she is ‘watching’ this process very carefully. She is in charge of the accidents to some extent and it’s this dance of chaos and control that intrigues her. The freedom is controlled. All of this has to happen with a lack of self-consciousness otherwise everything comes to a halt. This intersection of order and chaos endlessly fascinates the artist. With painting, as with other things, you’re always losing possibilities by the choices you make – to her this seems to be a very exciting thing.

Morrison has exhibited in group shows in London and New York and at various corporate venues. She has had solo exhibitions at the Arndean Gallery, Cork Street, and at the Coningsby Gallery in London. Her work is in private collection in South Africa, Singapore and London.

Mary Visser

Painting is entertainment for me, so it’s got to be fun! I start with one mark or a set of delicious colours. This begins a conversation of sorts between myself and the canvas. This is super exciting and I’m thrilled by the possibilities. As I make decisions to keep this mark or obscure this shape, problems start to emerge. I try keep a cheerful attitude even when the painting starts looking terrible. At some point I I think ‘oooh yuck, ok great, nothing to lose now’. This gets me excited to try something completely different and risky in order to salvage the painting.

The varied experience of the everyday is the aesthetic filter through which I approach painting. I bring what I have in the moment as I meet the painting; torn magazine shards, photos, song lyrics, doodles, notes and sketches of street life, fragments of other artist’s paintings, Instagram glimpses, drawings and collages. I juxtapose and layer many disparate things much like thoughts, events and memories might be arranged in a dream.

In the safe solitude of the studio I find I can let go of traditional ideas of good painting and be free to explore my idea of visual delight.