Peter Anton
Charles Arnoldi
Francis Bacon
John Baldessari
Charles Bell
Peter Blake
Kevin Bourgeois
Patrick Boussignac
Otto Bruch
Peter Buchman
Daniel Buren
GuangBin Cai
Cake & Neave (The Little Artists)
Alexander Calder
Enrique Chagoya
Eric Chan
Jim Christensen
Dan Colen
Ronnie Cutrone
Felix d´Eon
Davis & Davis
Andy Diaz Hope
Steven Dryden
Marlene Dumas
Sofia Echeverri
Linda Frost
Stephen Giannetti
David Gremard Romero
Fernando Guevara
Keith Haring
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David Hockney
Paul Jenkins
Brian Jones
Wonkun Jun
Anish Kapoor
Adam Katseff
Jeff Kellar
William Kentridge
Alexander Lee
Tamara de Lempicka
Chris Levine
Roy Lichtenstein
Tim Liddy
Kareem Lotfy
Charles Lutz
David Mach
Gabriel Mendoza
Norman Mooney
Malcolm Morley
Sarah Morris
Pard Morrison
Takashi Murakami
David Nadel
Claes Oldenburg
Jimmy Ong
Richard Pettibone
Joey Piziali
Larry Poons
Patrick Procktor
Sohan Qadri
Robert Rauschenberg
Man Ray
James Rosenquist
Thomas Ruff
Ed Ruscha
Ivan Sagito
Koeboe Sarawan
Francesco Scavullo
Richard Serra
Charles Sherman
Thad Simerly
Natthawut Singthong
Hunt Slonem
Justine Smith
Al Souza
Frank Stella
Renee Stout
Tim Sullivan
Sunday B Morning
MangZi Tian
Ignacio Uriarte
Andy Warhol
John Waters
Dong Wei
John Westmark
Kehinde Wiley
Donald Roller Wilson
Richard Winkler
Shaoxiang Wu
Russell Young

Pard Morrison

b. 1975, Colorado Springs, USA
Fine Arts, Colorado State University, Colorado
Lives and works in the USA

Pard Morrison’s geometrically abstract works are innovative explorations of abstract form that manipulate perspective and confound distinctions between painting and sculpture. Morrison is unique in that his work demonstrates a deep understanding of the historical legacy of Western abstraction, while at the same time responding to the contemporary moment. His work makes a statement that is new and current.

Morrison’s works are visually arresting. Projecting from the wall, they unfold before the viewer. Shapes recede and emerge while colours are juxtaposed to dynamic effect, activating the eye and leading the viewer on a journey across and around the work. The artist terms his practice “human minimalism." His work plays with a perceived dichotomy between human subjectivity and industrial object. The geometrical forms embody a cool abstract aesthetic and have the appearance of industrial fabrication. However, the physical surface creates an alternative experience of the work. On closer inspection, the viewer can trace where the pigment has been applied by hand. The surface mark making evidences a human touch and the artist’s deep relationship to the work.

The relationship between artificial object and human subjectivity is a dualism the artist finds particularly relevant in this contemporary moment. He explains that technology has created new forms of communication and experience that do not rely on physical interaction. In this context, the artist seeks to create new perceptions and experiences that can only take place through a physical engagement with the object.

Each artwork involves an innovative, highly skilled and labour intensive process. Morrison carries out every stage of the fabrication from start to finish. He meticulously maps out each work on paper, creating sculptural forms rooted in precision and draftsmanship. Each piece involves box welding and sculpting aluminium. The surface is hand brushed with coloured pigment and then fired at high temperatures in industrial sized ovens. All works are coated in a UV protective finish so that the pieces can be exhibited outdoors. Each piece is given a poetic and resonant name, often referencing love and affection.

Morrison has exhibited in solo shows across America as well as being included in group exhibitions alongside seminal artists such as Olafur Eliason, Ed Ruscha and Larry Bell. The artist’s work can be found in museum collections including the Colorado Springs Fine Art Center, The Armour Foundation, Colorado State University Art Museum, University of Wyoming Art Museum and the Frederick R Weisman Art Foundation.

4 artworks
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