![[no title] by Sarah Morris](/_next/image?url=https%3A%2F%2Fd2w8kbdekdi1gv.cloudfront.net%2FeyJidWNrZXQiOiAiYXJ0ZXJhLWltYWdlcy1idWNrZXQiLCAia2V5IjogImFydHdvcmtzLzhjNjk4YzYxLTBiNWEtNGNlMC1hMzgyLTUyODNmMjlhMDYzYy84YzY5OGM2MS0wYjVhLTRjZTAtYTM4Mi01MjgzZjI5YTA2M2NfZnVsbC5qcGciLCAiZWRpdHMiOiB7InJlc2l6ZSI6IHsid2lkdGgiOiAxOTIwLCAiaGVpZ2h0IjogMTkyMCwgImZpdCI6ICJpbnNpZGUifX19&w=3840&q=75)
Dimensions: image: 737 x 737 mm
Copyright: © Sarah Morris | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: This untitled piece by Sarah Morris presents a series of intersecting planes rendered in block colours. It strikes me as quite architectural, almost like a blueprint. What compositional elements stand out to you? Curator: The geometry is indeed paramount. Note the clean lines and how the white interstices function almost as structural supports. Consider how the chromatic choices—the earthy tones juxtaposed with the cooler teal—create a visual tension. Editor: It's interesting how the colors interact. I'm wondering, are there any underlying principles guiding this arrangement of shapes and colors? Curator: One could argue that Morris is exploring the interplay between surface and depth. The flat planes resist any illusion of three-dimensionality, yet the overlapping suggests a spatial complexity. Observe how the artist employs the grid as a foundational structure. Editor: It is a nice contrast between the colors and the grid structure. Thanks for pointing that out! Curator: My pleasure. It highlights the fascinating tension between constraint and possibility within a seemingly simple framework.
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Dulles (Capital) is Morris’s first major print work. The portfolio comprises nine square prints containing abstract geometric grids. Blocks of bright greens, turquoise, yellow, browns, orange and greys are separated by white lines which appear recede into the distance at an extreme perspective. All nine prints may be displayed together, each print separated by 3.5cm of white wall, which becomes part of the work. They form a large square, depicting another, larger grid that echoes the structures within the individual prints. Displayed in this way they provide an off-centre variation of Morris’s painting Constitution Gardens 2000, (private collection). Each print is numbered in the lower right corner to designate its position within the overall grid. The bottom row (Tate P78602-P78604) is made up of large blocks of colour which become more broken up in the middle row (Tate P78599-P78601). By the top row (Tate P78596-P78598) the dense three-dimensional structure has become an intricate array of fragmented blocks and splinters of colour. Alternatively, the prints may be displayed individually or in smaller groups based on their positions within the full scheme.
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