Sarah Morris’ ‘Your Words Become Mine’ at White Cube, Hong Kong | BLOUIN ARTINFO
Louise Blouin Media
Louise Blouin Media, Inc.
88 Laight Street
10013
New York
Blouin Artinfo

Subscriber login

Articles Remaining

Get access to this story, and every story on any device with our Basic Digital subscription.

Subscribe for only $20 Log in

Error message

  • User warning: The following module is missing from the file system: imagcache_actions. For information about how to fix this, see the documentation page. in _drupal_trigger_error_with_delayed_logging() (line 1143 of /data/www/html/artinfo/includes/bootstrap.inc).
  • User warning: The following module is missing from the file system: reference_dialog. For information about how to fix this, see the documentation page. in _drupal_trigger_error_with_delayed_logging() (line 1143 of /data/www/html/artinfo/includes/bootstrap.inc).


Sarah Morris’ ‘Your Words Become Mine’ at White Cube, Hong Kong

“Deviancy is the Essence [Sound Graph],” 2018, by Sarah Morris (1967, UK), Household gloss on canvas, 122 x 122 cm, © Sarah Morris, Photo: © Ron Amstutz, White Cube Hong Kong
(Courtesy: White Cube)

White Cube is hosting Sarah Morris’ debut exhibition in Hong Kong titled “Your Words Become Mine” showcasing two new series of paintings as well as the feature-length film “Abu Dhabi” (2016). The exhibition coincides with her large-scale survey show “Sarah Morris: Odysseus Factor,” at UCCA in Beijing.

The gallery says Morris has been making both paintings and films that manipulate bureaucratic forms and social structures, playing with ideas of surface to reveal power constructs in flux since the mid-1990s. She produces non-narrative films, which can be understood as fantasies of place in parallel to the paintings; describing her dual practices as “two sides of the same coin.” Using her signature abstract and geometric painting language and a sense of hyperreality in the films, she portrays a vision ordered by social forces, where the boundaries of fact and fiction, ‘truth’ and its representation are always blurred.

“Her new ‘Sound Graph’ paintings started after she crafted a script from James P. Carse’s cult book “Finite and Infinite Games.” Acting both in terms of as philosophical thesis and warning, Morris asked Alexander Kluge, the German poet, lawyer and filmmaker, to read the script for her 2017 film of the same title. Morris finds the visual starting point for her paintings after selecting passages of dialogue, which she introduces into software programs. She incorporated lines, bars and dots giving these highly seductive canvases a sense of volumetric build-up and release, evoking a feeling of movement and perhaps even the sense of an industrial landscape. In this series, an idea becomes language, words become reencoded as visual information, and sounds become image, serving to highlight an understanding of language as construct, particularly relevant to our ‘post-truth’ age,” the gallery says.

“Morris’ distinctive methods continue in ‘Abu Dhabi’ paintings whereby she uses barcoding software to create compositions from a range of references including GPS technology, topographical mapping and QR codes of locations. Her paintings absorb Abu Dhabi’s signifiers of place and time and reconfigure them within the canvas so that industrial products, signage and material surfaces combine to evoke the heat, adrenalin, compression and exhilaration that characterize this particular place,” the gallery adds.

The exhibition is on view through July 7, 2018 at White Cube, 50 Connaught Road Central, Hong Kong.

For details, visit: http://www.blouinartinfo.com/galleryguide/white-cube-gallery/overview

Click on the slideshow for a sneak peek at the exhibition.

http://www.blouinartinfo.com/                              

Founder: Louise Blouin