‘Re-Imaginings’ Idris Khan and Annie Morris
13 Dec 2017 – 24 Jan 2018
Born 16/01/1978 Live and works in London
Annie Morris studied at the École des Beaux Arts in Paris, where, in 2002, she won several awards. As a result of this early recognition, she began to gain critical attention for her extraordinary draughtsmanship. Morris’ works have been exhibited in many important international institutions including: The Royal Academy of Arts, London, UK; the Baku MoMA, Azerbaijan; The New Art Gallery, Walsall, UK and Tate St Ives, UK.
Though primarily a mark maker (even in sculpture), Morris’s multidisciplinary approach – drawing, sculpture, collages and painting – employs a wide range of (basic) materials including steel, wooden clothespegs, painted postcards, needle and thread, canvas, biro, polystyrene and more. And she uses these vast and varied approaches and mediums to explore life, love, loss and memory.
Her work is characterised by a distinctive pictorial gesture that is repeated in meticulous detail and draws the viewer into an apparently endless sea of detail. She is well know for her towering stack sculptures. Formed from coloured plaster and sand, and more recently cast in bronze. They appear to defy gravity, reaching majestically for the sky.
Morris, creates a colour-filled language that uses repetition as a device to compose intensely worked paintings, dense with pictorial matter and sculpture that is emotionally charged.
“The emotional impact of her pictorial gesture accompanies the viewer in the transition from figurative to abstract painting” Wall Street Journal, NY 2014
Morris’ complex sculptures have been described by the Wall Street Journal as “Stacks of Joy”. Comprised of stacked “spheres”, they create a strong dialogue with the artist’s paintings, where hundreds of over-lapping faces have been forged from one continuous line. The paintings almost appear to vibrate with an obsessive, but tangibly playful energy.

Education

Slade School of Art 2002 – 2003
Ecole des Beaux Arts Paris 1998 – 2002
St Martins College of Art and Design 1997 – 1998

Solo Exhibitions

2017

Cobalt Blue, Annie Morris, Winston Wachter Fine Art, New York, NY
Re-imaginings, Idris Khan & Annie Morris, Galerie Isa, Mumbai, India
2015

Accession, ProjectB Gallery, Milan, Italy
2015

Stacked, Winston Wachter Fine Art, Seattle, WA
2014

Hope From a Thin Line, Winston Wachter Fine Art, New York, NY
2012

There is a land called loss, Pertwee Anderson and Gold Gallery, London
2010

Annie Morris, Winston Wachter Fine Art, New York, NY
2007

When a Happy Thing Falls, Allsopp Contemporary, London
2007

When a Happy Thing Falls, Jeannie Freilich Contemporary, New York, NY
2006

Annie Morris, Lightbox Gallery, Los Angeles, CA
2005

Annie Morris, Laura Bartlett Gallery, London
Glass Paintings, Postcards, Thomas Williams Gallery, London
2004

Annie Morris, Adams Street Club, London (curated by Nick Hackworth)
The Man With The Dancing Eyes, The Daniel Katz Gallery, London

Group Exhibitions

2017 Form & Volume, CFHill Art Space, Stockholm, curated by Francesca Gavin
Women and Gluck, The Fine Art Society, London
The Ned, London, curated by Kate Bryan
Peter Doig Gala Exhibition, Whitechapel, London
MiArt Fair, Milan with Keith Tyson and Annie Morris, ProjectB Gallery
India Art Fair, Delhi, Galerie Isa

2016 What’s Up, London, curated by Lawrence Van Hagen
ProjectB Gallery, Milan
San Francisco Art Fair, CA Winston Wachter
Pulse Art Fair, Miami
Eros, Art 16

2015 After Marcel Duchamp, The Fine Art Society
Modern Muses, Marcel Joseph
Pulse, Miami Art Fair, Winston Wachter
San Francisco Art Fair, Winston Wachter
2014 The Summer Show, The Royal Academy of Art, London
2013 Sculpture Al Fresco III, Great Fosters Sculpture Park, Surrey England
London Art Fair, Pertwee Anderson and Gold Gallery, London, England
2012 Merging Bridges, Baku Museum of Modern Art, Azerbaijan
2011 The London Art Fair, Thomas Williams Fine Art, London
2010 The Big Rip Off, Camden Arts Centre, London,
House of Fairy Tales, Walsall’ New Gallery
House of Fairy Tales St Ives, Cornwall
House of Fairy Tales, Victor Wynd Gallery, London
2007 Allsopp Contemporary, Miami Art fair 2007
Jeannie Freilich Miami Art fair 2007
2006 Nine, Jeannie Frielich Contemporary, New York
Rivington Arms Gallery, New York

2005 Francesca Gavin Group Exhibition
Thomas Williams Fine Art, London 2005

Upcoming Exhibitions

2017 Annie Morris and Idris Khan, Galerie Isa, Mumbai

Publications

2016 London Burning, Thames and Hudson
2014 The Book of Hearts, By Francesca Gavin
2010 Lula Magazine
Midnight Feast, Sunday Times
The House of Fairy Tales, The Guardian
2009 Harpers and Queen, Sophie Dahl, The Handkerchief Thief
Cartier Polo Magazine
2001 Giuseppe Penone, Selected Drawings

Selected Press

2017 Vogue, March UK edition
2016 How to Spend it, Financial Times, Miami,
How to Spend it, Financial Time, London
Interview with Annie Morris, Rika Magazine
2014 Stacks of Joy, Wall Street Journal,NY
2013 Amuse Magazine
2012 Out of the Blue, Wallpaper Magazine
Neutopian Vision For the Future, Metro
2011 Sunday Times Magazine
2010 The Independent
Horton Square Magazine
Calling Annie Morris, Elle Magazine
Bare Bones Chic, Vogue
20, Newspaper
2009 In Vogue, Vogue
Urban Fix, ES Magazine
2008 Stylefile, Vogue
ES Magazine
Fanfair,, Artist Portrait, Vanity Fair
2007 ‘Annie Morris’, Revue, The Independent on Sunday
Another Magazine
2005 ‘Pegged For Stardom’ The Independent
The Next Big Thing’ The Sunday Time Magazine
‘Just Hanging Out’ Telegraph Magazine
One’s to Watch’ Evening Standard Magazine
2005 ‘Pegged For Stardom’ The Independent
The Next Big Thing’ The Sunday Time Magazine
‘Just Hanging Out’ Telegraph Magazine
One’s to Watch’ Evening Standard Magazine
2004 Evening Standard Magazine
2003 W Magazine, December
Soloarte, November
The Guardian
Vogue Magazine

Selected Collections

Her artworks are already part of a certain number of international art collections such as: Louis Vuitton Foundation, Paris; Hearst Collection, New York; Vulcan, Seattle; Cranford Collection, London; University of Colorado Art Museum, Colorado; The Gersh Collection, Los Angeles; Nat Rothchild, New York; Maleki, London; Alex and Guy Delall, London; Janger, Los Angeles; Victoria and Warren Miro, London; Maryam Eisler, London; Norman Rosenthal, London; Raqib Shaw, London; Betty Levin, New York; Rodolfo Moli, Peter Marino

BIOGRAPHY

1978 Born in Birmingham, England
Lives and works in London, England

EDUCATION

2002 – 2004 MFA with Distinction For Research, Royal College of Art, London
1998 – 2000 BA Photography, First Class. The University of Derby
1997 – 1998 Walsall College of Art and Technology, BTEC National Diploma Foundation in Art and Design, Walsall

SOLO EXHIBITIONS

2017 Absorbing Light, Victoria Miro Gallery, London
A World Within, The New Art Gallery Walsall, Walsall, United Kingdom
Re-Imaginings, Idris Khan & Annie Morris, Galerie Isa, Mumbai, India
2016 The Whitworth Art Gallery, The University of Manchester, Manchester, England, (2016 – 2017) Rhythm, Galerie Thomas Schulte, Berlin, Germany
2015 Overture, Sean Kelly Gallery, New York
Conflicting Lines, Victoria Miro Gallery, London
2014 Zurich Opernhaus, Set design collaboration with Wayne McGregor
2013 Beyond the Black, Victoria Miro Gallery, London
Beginning at the End, Gallery Isabelle van den Eynde, Dubai
2012 The Devil’s Wall, The Whitworth Art Gallery, The University of Manchester, Manchester, England Photographs and Drawings, Thomas Schulte Gallery, Berlin, Germany Fraenkel Gallery, San Francisco, California
2011 Contrary Motion, Göteborgs Konsthall, Gothenburg, Sweden Devil’s Wall, Yvon Lambert Gallery, New York
2010 Victoria Miro, London
2009 Be Lost in the Call, Elementa, Dubai
Kunsthaus Murz, Murzzuschlag, Austria
Silent Writings, Espace Culturel Louis Vuitton, Paris
2008 Every…, K20, Dusseldorf
Fragile, Permanent Public Art Commission, 9 Howick Place, London
2007 Yvon Lambert Gallery, New York
Thomas Schulte Galerie, Berlin
2006 A Memory After Bach’s Cello Suites, film installation, Yvon Lambert Gallery, Paris Victoria Miro Gallery, London A Memory After Bach’s Cello Suites, film installation, inIVA, London Fraenkel Gallery, San Francisco
2001 Future Focus, The Q Gallery, Derby
2000 Courts, The City Gallery, Leicester

GROUP EXHIBITIONS

2017 Dissolution of Distance, Pelaires Gallery, Mallorca From Selfie to Self-Expression, Saatchi Gallery, London Second Nature, organised by the K11 Art Foundation, chi art space, Hong Kong
2016 Ludwig Van: The Beethoven Myth, Cité de la Musique, Paris, France (2016 – 2017) Memory of the Future, Musée de L’Elysée, Lausanne, Switzerland
2015 In and Out of Time, Galerie Isa, Mumbai, India (2015 – 2016) By the Book, Sean Kelly, New York The Dimension of Civilisation, Yinchuan Museum of Contemporary Art, Yinchuan City, China The Memory of Time: Contemporary Photographs, National Gallery of Art, Washington, D.C.
2014 Under Erasure, Tel Aviv Museum of Art, Tel Aviv, Israel (2014– 2015)
One Way: Peter Marino, Bass Museum of Art, Miami, Florida (2014 – 2015)
Special presentation; by Conrad Shawcross, Idris Khan & Yayoi Kusama, Schloss Sihlberg, Zurich Clear, Gagosian Gallery, Beverly Hills, United States
2013 TIME, Bas Museum, Miami, Florida
Slow: Marking Time in Photography and Film, MOCA, Jacksonville, Florida
Writing Without Borders, Lehmann Maupin Hong Kong, Hong Kong
Une exposition parlée, Jeu de Paume, Paris, France
2012-13 Hajj: Journey to the Heart of Islam, British Museum, London; travelling to: Museum of Islamic Art, Doha
2012 I Wish This Was A Song. Music in Contemporary Art, The National Museum of Art, Architecture and Design, Oslo, Norway RESISTANCE. Subverting the Camera, The Fine Art Society, London
2011 Lustwarande ´11 – Raw, De Oude Warande, Tilburg, The Netherlands
2010 Art of Ideas Presents: The Witching Hour, Birmingham Museums and Art Gallery, Birmingham
Newspeak: British Art Now Part II, The Saatchi Gallery, London
No New Thing Under the Sun, Royal Academy, London
Haunted, Solomon R. Guggenheim Museum, New York
Haunted, Guggenheim Museum Bilbao, Bilbao
2009 Still Revolution: Suspended in Time, Museum of Contemporary Canadian Art. Toronto, Canada
Taswir – Pictorial Mappings of Islam and Modernity, Martin-Gropius-Bau, Berlin
The Collection, Ikon Gallery, Birmingham
The Collection, Victoria Miro Gallery, London
Silent Writings, Espace Culturel Louis Vuitton, Paris, France
Natural Wonders: New Art from London (curated by Nick Hackworth), Baibakov Art Projects, Moscow
Order from Chaos: Ori Gersh / Idris Khan / Boo Ritson, Convento de Santa Inés, Seville, Spain
2008 Order from Chaos: Ori Gersh / Idris Khan / Boo Ritson, CAF – Andalusian Center of Photography, Spain
Bookish – When books become art, Lewis Glucksman Gallery, Cork, Ireland A Memory After Bach’s Cello Suites, Kunst Film Biennale, Cologne these valued landscapes, Bury St Edmunds Art Gallery, England Under Erasure, Temple Bar Gallery & Studios, Dublin P2P, Casino Luxembourg, Forum d’art contemporain, Luxembourg Yours, Mine, Ours, University Gallery, University of Essex, Colchester Art Park, Art Dubai
2007 Mario Testino at Home (curated by Mario Testino), Yvon Lambert Gallery, New York
All Tomorrow’s Pictures, ICA, London
Birmingham Arts Festival, Birmingham
Artprojx, an artist film compilation, Late at Tate Britain, London
2006 Imposing Order: Contemporary Photography and the Archive, San Francisco Museum of Modern Art
Film-maker Focus, The Encounters Short Film Festival, Bristol
Regeneration – 50 Photographers of Tomorrow, Aperture Foundation Gallery, New York
Le Studio – Project Room, Yvon Lambert, Paris
2005 Something of the Night, Leeds City Gallery, Leeds, UK
Andmoreagain, Open Eye Gallery, Liverpool
To be continued… Helsinki Kunsthalle, Helsinki, Finland (British Council)
Regeneration – 50 Photographers of Tomorrow, Musée de l’Elysée, Lausanne, Switzerland /Galleria Corso Como Milan
Young Masters, 148a St. John Street, London
Photography 2005, Victoria Miro Gallery, London
2004 Photo Paris represented by The Photographers Gallery, London
Project Space: ‘The Truth Society,’ Northern Gallery of Contemporary Art, Sunderland
Arrivals, Pump House Gallery, Battersea, London
On The Edge, Hiscox Gallery, London
Summer Show, Hoopers Gallery, Clerkenwell, London
Show 1 MA, Royal College of Art, London
Photography 2004, Royal College of Art, London
2003 Auslander. The Dahl Gallery, Lucerne, Switzerland
Essen Arts Festival, Folkwang Museum, Essen, Germany
Another Way Is Possible, Royal College of Art, London

COMMISSIONS

2016 Permanent public monument commissioned by the United Arab Emirates for Abu Dhabi Memorial Park
2014 Stage design for Notations, ballet production by Wayne McGregor premiered as part of STEPS at Ballett Zürich, Switzerland
2012 Five photographic works for The New York Times Magazine (London Eye, London, 2012 feature on the cover of its London issue) You and Only You, wall drawing for Hajj: Journey to the Heart of Islam, British Museum, London
2011 Eternal Movement, wall drawing for Sadler’s Wells Dance House, London

RESEARCH POSTS AND AWARDS

2010 Artist Lecture – Solomon R. Guggenheim Museum, New York as Part of the Cooper Conversation Series
Artist Lecture – Academy Member and Judge for the World Photography Awards, Cannes, France
2009 Judge for the Google World Photography Awards
2008 Fragile Permanent Public Art Commision. Howick Place, London.
2007 The Editors, “An End Has a Start”, album and singles cover design Seminar, “Off to Market”, panel discussion with Jeremy Deller, Matt Price and David Risley Artist Lecture and Seminar, Royal College of Art, London
2006 Artist Talk, Fraenkel Gallery, San Francisco
2004 Artist Lecture, The University of Derby
The Photographers’ Gallery Prize
Hooper’s Gallery Commission 2004
2003 Part-time Visiting Lecturer, The University of Derby
2002 British Student ‘Tom Gower Award,’ The British Institute of Photography
2002 British Student ‘Tom Gower Award,’ The British Institute of Photography

MONOGRAPHS

2015 Idris Khan, Conflicting Lines, Victoria Miro Gallery, London
2011 Idris Khan, Contrary Motion = Kontrapunktisk Rörelse, Goteborgs Konsthall
2010 Idris Khan, Victoria Miro Gallery, London
2008 Idris Khan every…, K20, Dusseldorf
2007 Idris Khan, Yvon Lambert Gallery, New York

BIBLIOGRAPHY

2016 Matt Price, Idris Khan: Memories & Monuments, Fused Magazine, Autumn 2016 Gareth Harris, British artist Idris Khan wins major public art commission in the Middle East, The Art Newspaper online, 30 March 2016 Idris Khan Wins Competition to Design a Public Monument in Abu Dhabi, Artforum, 30 March
2015 Robert Shore, The Sound of Lasers Crashing, Elephant, Autumn 2015 Emily McDermott, Into the Abyss with Idris Khan, Interview online, 15 September 2015 Eddy Frankel, Lost in Language: Idris Khan’s contradictory worlds, ArtMag, July 2015 Kasia Maciejowska, Idris Khan at Victoria Miro, London, Ocula, 25 May 2015 Personal Views, FT Weekend, 16 May 2015 Nick Compton, Idris Khan explores the horrors of war in haunting new show, Wallpaper*, 5 May Justin Cartwright, Blurred Lines, The Guardian | G2, 4 May 2015
2014 Thomas Marks, Profile: Idris Khan, Apollo online, 27 August 2014 Zehra Jumabhoy, Idris Khan; Victoria Miro, Artforum, January 2014
2013 10 to See. Recommended Exhibitions This Season, Aesthetica, December / January 2013 Karen Wright, Idris Khan: In the Studio, Radar (The Independent), 28 September 2013 Eddy Frankel, Idris Khan: Beyond the Black, TimeOut, 26 September 2013 Ellen Himelfarb, Idris Khan’s ‘Beyond the Black’ at Victoria Miro, Wallpaper, 23 September 2013 Tabish Khan, Idris Khan’s Art Goes Beyond the Black, Londonist, 22 September 2013 Idris Khan, London, The Word Magazine, September 2013 Daniel Barnes, Aesthetica blog, September 2013 Jyoti Kalsi, Layers of Meaning, Gulf News, April 5 2013
2012 Glenn Waldron, Out of the Blue, Wallpaper, July 2012 Tim Adams, May the Force of Faith Be, The Observer, April 2012 Kathy Ryan, Pretty as A Thousand Postcards, The New York Times Magazine, March 2012 Sarah Walters, Journey to the Heart of Hajj, Manchester Evening News, March 2012 A House Full of Music. Strategies in Music and Art, Hatje Cantz, Ostfildern-Ruit, pp. 162-163, 397 Hajj. Journey into the Heart of Islam, British Museum Press, London, p. 254 Sanctuary. Britain’s Artists and Their Studios, TransGlobe Publishing, London, pp. 288-291
2011 Raw Stardust. Excursions in Contemporary Sculpture II, Fundament Foundation, Tilburg,pp.74-75
2010 Michael Glover, Mystery appeal in dark material, The Independent, 12 April 2010 Catherine Borra, Idris Khan, Flash Art, March/April 2010 Fiona Golfer, Bare Bone Chic, Vogue, February 2010 Francis Hodgson, Over and over and over again, Financial Times, 30 January 2010 Art of Ideas. Contemporary Art Collecting, Collections and Collectors, Art & Business, London, pp. 26-31 The Witching Hour. Darkness and The Uncanny, Birmingham Museum and Art Gallery, Birmingham, pp. 40-41
2009 Laura Barnett, The best of both worlds, The Guardian 8 June 2009 Sanjoy Roy, Playing to the gallery, New Statesman 13 April 2009 Robert White, The Collection on until April 9th at Victoria Miro Gallery and Siobhan Davies Studio, Fadwebsite.com 1 April 2009 Judith Mackrell, The Guardian, Gallery of movement contemplates the dancer as work of art, 24 March 2009 Laura McLean-Ferris, The Collection: Victoria Miro & Siobhan Davies, Artreview.com 24 March 2009 Carla Yarish, The Collection: Victoria Miro Gallery and Siobhan Davies Studio, Art World February/March 2009 Ecrites Silencieuses, Espace Culturel Louis Vuitton, Paris, pp. 26-27 Gothic, Contemporary Art Society, London, pp. 76-77
2008 Sarah Thornton, If the work is free, is it Art? The art market through Artist eyes, The Guardian, 16 October 2008 London Artists Directory, Flash Art, October 2008 Aidan Dunne, Poignant images from a region apart, The Irish Times, 23 July 2008 Katarzyna Murphy, Under erasure, Circa Magazine (online review) June 2008 Helen Sumpter, In the Studio: Idris Khan, Time Out 5 – 11 June 2008 Global Art Forum_2. Transcripts. Art Dubai, Dubai, pp. 39-47 How To Look At Contemporary Art. 66 works from 1970 to 2008, Umberto Allemandi, Turin, pp. 238-239 Orden desde el caso. Fotografía Británica Contemporánea, Junta de Andalucía, Sevilla, pp. 35-51
2007 Aoife Rosenmeyer, Idris Khan, Art World October/November 2007 Idris Khan, The New Yorker (arts events) 24 October 2007 Adam Fuss. Portfolio Idris Khan, Bomb Magazine, Fall 2007 Leo Benedictus, Idris Khan’s best shot, The Guardian 2 August 2007 Miranda Gavin, The Ideas Factory, British Journal of Photography 20 June 2007 Nick Hackworth, Idris Khan, Quintessentially Summer 2007
2006 Lucy Soutter, The Collapsed Archive, Source, Issue 49, Winter 2006 Vitamin PH: New Perspectives in Photography, Phaidon, London pp. 142-143 Matt Price, Idris Khan, Flash Art, November/December 2006 Mark Durden, Unfreezing Photography: Idris Khan, Next Level, Ed 01, Volume 05, 2006 Eliza Williams, Review, Art Monthly October 2006 Michael Glover, A real maelstrom of talent, Independent, 20 September 2006 Sally O’Reilly, Idris Khan, Time Out 13 September 2006 Nick Hackworth, Ghosts in the Gallery, Evening Standard 5 September 2006 Geoff Dyer, Between the Lines, The Guardian 2 September 2006 Brian Dillon, The Revelation of Erasure, Tate etc Issue 8, Autumn 2006 Mark Rappolt, Born of Frustration: Idris Khan’s Icons of Iconoclasm, Art Review Issue 2, August 2006 Paul Fitzpatrick, Idris Khan, Aesthetica Issue 14, August/Sept/October 2006 Kenneth Baker, Letting go of handlebars with artist’s echoes of Duchamp, San Francisco Chronicle 10 June 2006 Ticky Hedley-Dent, Evening Standard Magazine, The Hot List, 21 April 2006
2005 Michael Glover, , Talent 2006, The Independent Magazine 31 December 2005 The underexposed: Seven leading photographers and commentators tip the photographic stars of the future, V&A Magazine Winter 05/06 Charles Darwent, , Look to the future, Art Review August 2005 Huma Qureshi, Under the Layers, Libas Vol. 18. Issue 4, 2005 Alicia Miller, A Generational Statement, Source, April 2005 Mark Durden, Susan Sontag 1933-2004 On On Photography, Photoworks, April 2005 Brian Dillon, Photography 2005, Modern Painters March 2005 Creative Review, February 2005 Previews, Dazed and Confused, January 2005 Peter Chapman, Private View The Independent Joanna Pitman, Young and Original: Six visual artists in the frame, The Times 19 January 2005 Sue Steward, A focus on six of the best, Evening Standard 19 January 2005 Fisun Guner, Much ado about Nothingness, Metro London 18 January 2005 Art Fortnight London 2005. Art Fortnight, London, pp. 72-77 ReGeneration. 50 Photographers of Tomorrow, 2005-2025, Thames and Hudson, London, pp. 108-111
2004 Portfolio. Catalogue of Contemporary Photography, Issue 40 December 2004 Idris Khan. Traces, Next Level, Edition No.2, vol. 3, November Contemporary Photography 2004, Royal College of Art Magazine Nick Hackworth, Dazed And Confused, October 2004 Ken Edwards, A Fresh New Crop, Blueprint Issue No. 221, July 2004 Charlotte Edwards, Cream of the Crop, The Independent, 4 July 2004 Top 25 Young London Artists, Art Review, June 2004 Royal College of Art, Pick of the Best, Metro London June 2004

COLLECTIONS

Arts Council Collection, London
Art Gallery of New South Wales, Sydney,
The British Museum, London
Centre Pompidou, Paris
The de Young Museum, San Francisco
Government Art Collection, London
Musée National des Beaux Arts, Québec
The National Gallery of Art, London
National Gallery of Art, Washington, DC
Philadelphia Museum of Art
Saatchi Gallery, London
San Francisco Museum of Modern Art, San Francisco
Solomon R. Guggenheim Museum, New York
Whitworth Art Gallery, Manchester
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This show brings together the artists Idris Khan (b.1978 Birmingham,UK) and Annie Morris (b.1978, London, UK). Married and working from conjoining studios in London and yet despite their close interaction, the inspiration each finds in the other and the cross pollination of ideas – as this exhibition demonstrates – their practices are distinctly individual and wonderfully different.

Khan draws inspiration for his meticulously executed works from diverse but consistent sources. He looks to the history of art and music as well as to some of the most significant philosophical and theological texts. His practice involves the investigation of memory and creativity, but it also considers the layering of experience which the artist mediates through the physical act of a continuous process of creating and erasing, or adding new layers whilst retaining traces of what has gone before. He first gained attention for work in which he used digital technology to overlay and combine series of visual or textual pieces: every Bernd and Hilla Becher photograph of a gable-sided house, every page of the Quran, every late Constable painting, every stave of Chopin’s Nocturne.

Repetition and action have always been central to Khan’s practice along with a restricted set of processes. There is the distinct sense of ‘beating time’, of going back and forth while simultaneously bringing a new creation into being. In the past, Khan’s earlier works drew on pre-existing cultural artefacts and were about creating a whole from discrete parts, however his more recent series of works introduce another layer of mediation and are resolutely hand-made. Printed texts are stamped in densely overlaid geometric shapes on the surface of paintings, works on paper, sculptures and wall drawings. The texts are drawn from the artist’s own writings in response to classic art historical, philosophical and religious tracts.

Khan was recently commissioned to make a war memorial for Abu Dhabi. The 90-metre sculpture is the largest work Khan has undertaken. It is formed from hundreds of tonnes of steel and its central spine and 31 tablets (the tallest of which is 23 metres high), are covered by over 1,000 individually cast, hand-painted aluminum panels. Recently awarded an OBE, Khan is increasingly recognised not only as one of the leading practitioners of contemporary art in Britain, but as one of the foremost contemporary artists in the world.

Like Khan, Morris works across artistic disciplines. The thread that links her works together and undergirds her practice is her authoritative and imaginative use of line. Sometimes this takes the form of drawn marks – Morris is a wonderful draughtsman and her fluidity of line belies her command and authority over her subjects – at other times the line becomes stitching, and she sews by hand or by machine into the canvas.

More recently though, Morris has started to become renowned for her colourful sculptural pieces. Her totemic ‘Stack’ sculptures appear to defy gravity, reaching majestically for the sky. Sometimes formed from coloured plaster and sand, at other times cast in bronze, these softly rounded, feminine shapes both arrest and delight the viewer. Described by The New York Times as ‘Stacks of Joy’, new editions of these pieces are currently in progress as part of a commission for the Louis Vuitton Foundation. Like trees they share a commonality of type but each edition is distinctly different. Morris’s work is paradoxical in its shades of subtlety and boldness and the artist carefully but apparently unconsciously succeeds in walking the tightrope between the two.