Morley has created and recreated the same paintings for over a decade. By repeating the themes and images, he builds works of art—which he refers to as “groups”—consisting of large numbers of individual paintings. Yet, his first show at Bortolami marks a significant shift in his art-making. Morley has applied a unifying strategy to his disparate practices for the first time, by using the pattern produced by breaking a large pane of glass to “draw” the principal body of works in the show, whether they are made of painstakingly tooled leather, thread, batik, or oil paint. Whereas his work over the last decade used repetition to play with temporal experience and sequence, the paintings in this exhi- bition use similar means to a different end. By making the same image five times from a variety of materials, Morley manufactures a present tense. One might argue that his practice and notion of time is vertical rather than linear.