Kate Morgan

dreams, last night

two straight feet and rooms reconfigured.

the fear that it would seem I cared still.

gravel terraced garden - no room for jumping down.

in the back of a car on the street and uncoverable.

spine crumpling hug under knitted navy cotton.

high up, there, I will show you the trampolines.

All is formatted, all posits itself as basic and crucial  – if one applies an effort to make sense of a diagram it becomes clear that a thought process has taken place: this follows this, thus this is true. The viewer is led: there is buoyancy to it. In the figuring out of the images, the viewer is made to think about the order of things in a different manner. Despite clear specificity, there is a lack of grounding actuals, of some object that isn’t only acting in relation to the other bodies/objects we encounter in the image. This absence of a bridge with the physical world leads to a degree of suspension: the viewer does not know if they are looking at schemes for a rocket ship or for a perfunctory business meeting. I intend for the works to imply a greater body. An etched print (A) alludes to the existence of a metal plate (B), the inverse image on it. This relation gives A and B a similar magnitude. I am trying to present objects that imply the existence of an exponentially larger other.

The works that are solely text, printed on office paper in a quasi-academic manner, use autobiographical situations, but shift between viewpoints, presenting the narrator as untrustworthy. The various edits of such a text are considered on the same plane. When it comes to the work’s dissemination, each variant acts to represent it – already only an idea of the reality of the definitive text. The work is absorbed, dematerialises, as it leaves the hands of its maker.

….going to Pratt in NY this Autumn for a term….

Figures of a phenomenon, pen and pencil on found document,  32 x 400 cms.