Morris, who is based in Los Angeles, has spent the past two decades of her distinguished career expanding her own personal and idiosyncratic vernacular of abstraction. The artist’s distinct and constantly evolving motifs include step patterns, checkerboards, and overlapping hook shapes the artist refers to as “lobster claws,” a nod to her upbringing in Connecticut.
Morris applies paint from above with her canvas on the floor, working on custom scaffolding so that her characteristically thin oils soak into primed canvas rather than dripping right off the surface.
Rebecca Morris, Manifesto: For Abstractionists and Friends of the Non-Objective, 2004-2005.
Tenzing Barshee and Camila McHugh, “Perverse Formalism: Rebecca Morris,” Mousse Magazine, April 2020.
Essay by Tyler Blackwell. Rebecca Morris: The Ache of Bright. Blaffer Art Museum, Houston, Texas, 2019.
Text by Michael Goodson. Inherent Structure. Wexner Center for the Arts, Columbus, Ohio, 2018.