University of Sherbrooke, Quebec, Canada

The works were first sculpted in clay, then scanned, covered with layers of digital painting, output as photographs and then applied as surface to a final sculptural form. They are presented as formal portraits, sometimes accompanied byt groupings of related fragments and a large projection with muti-layered sound, cross-referencing Victorian mementos, medical specimens, and pixillated abstractions.

{true}science and comparative || anatomies are two parts of a 10-year investigation into the persistence of The Romantic Condition.

excerpt, text for the Darling Foundry in Montréa:

"...The body of work is in fact quite spectacular. Joey Morgan presents the state of her reasoning by exhibiting a collection of digital photographs of hearts, each one as different as the other. Marked by emotional experiences, sometimes leaving scars, these hearts also present themselves as organs in stages of mutation. They call to mind both the vegetal and mineral universe. However each specimen can be perceived as a metaphor of the human existence, a portrait of a life lived..."



excerpt, University of Sherbrooke exhibition catalog

"......At first glance, presented side by side on a red wall, the twelve portraits constitute a uniform series, but if we linger just a little, everything that brings unity to the series also highlights significant differences among its elements. The repetition of the images and their similar presentation trigger a play of association and comparison where the identification of details, seemingly banal at first, ushers the perception of their infinite variation from one photograph to the next, until another detail grabs our attention and initiates the process of recognition all over again. ......"




SOLO: University of Sherbrooke, curated by Johanne Broulliet, catalog essay by Marie Perrault, press release by Johanne Broulliet (catalog); Darling Foundry, Montréal Canada, director Caroline Andrieux, guest curated with exhibition essay by Manon Blanchette. GROUP: Love and Passion, Catherine Dianich Gallery, Brattleboro VT; For Emily [Dickinson], MacKenzie Art Gallery, Regina, Saskatchewan, curated by Tim Long, (permanent collection); HeartLand, Toronto International Art Fair, Canada, curated by Jeffrey Spalding.