Catch + release

A two-part installation, Catch + Release (1) is comprised of a series of painting assemblages, primarily graphite, oil and powdered pigment on mylar (each approx 71 x 30 inches) attached by tiny magnets to iron frameworks (2 inches deep); Catch + Release (2) is a series of very short video vignettes –ad hoc assemblies of disparate images and narration. These two parts are connected by a large video projection of a bonfire.

Someday, after mastering the winds, the waves, the tides and gravity, we shall harness for God the energies of love, and then, for the second time in the history of the world, man will have discovered fire.” — Teilhard de Chardin

Joey Morgan, Catch and Release
  • JMorgan FireVideo Vitrine
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  • JM CR InstallationView03
  • JM CR InstallationView02
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  • 4 JMorgan PFO 05
  • J Morgan CR 3
  • JMorgan PFO 08
  • JMorgan PFO 10
  • JMorgan PFO 05 Detail



THE OBJECTS: Formal with the weight of the iron framework, they seem to have been placed a bit high on the wall. Bits of copper catch the light. The face can seem full of energy, like some piece of battered metal but strong, and then tentative and vulnerable–translucent in parts. There is tension as the magnets stretch the surface and hold one part to the other.

THE VIDEOS: Each begins with the same introduction (have I seen this before?) and spirals into a short burst of exploratory memory or obsessive thought. The space between image and text invites a further reckoning.

THE FIRE: In Vermont people designate a winter jacket to be worn to the bonfire; over the years the sparks burn holes. The warm embrace of a fire burning all night long, the violent pulse of flames, the scattering of ash – one’s mind wanders.

However abstract the conceptual framework may be, the first punch is emotional. Scale and points of attachment tether a piece to the analog world; but gaps are the essential components, giving the work breath. The piece may address shared experience from a particular voice, but it is received, interpreted and essentially altered by the visitor. What meaning there is resides with the viewer. These romantic precepts have endured, I think, throughout the body of my work.