‘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

Back
Back Press Release

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.