Freya Douglas-Morris

20_02_2014 : 22_03_2014

2 Freya Douglas-Morris Studiolo 11 2014 Spazio Cabinet Milan - Courtesy Spazio Cabinet Milan - Photo Filippo Armellin

1 Freya Douglas-Morris Studiolo 11 2014 Spazio Cabinet Milan - Courtesy Spazio Cabinet Milan - Photo Filippo Armellin

12 Freya Douglas-Morris Studiolo 11 2014 Spazio Cabinet Milan - Courtesy Spazio Cabinet Milan - Photo Filippo Armellin

4 Freya Douglas-Morris Studiolo 11 2014 Spazio Cabinet Milan - Courtesy Spazio Cabinet Milan - Photo Filippo Armellin

9 Freya Douglas-Morris Studiolo 11 2014 Spazio Cabinet Milan - Courtesy Spazio Cabinet Milan - Photo Filippo Armellin

3 Freya Douglas-Morris Studiolo 11 2014 Spazio Cabinet Milan - Courtesy Spazio Cabinet Milan - Photo Filippo Armellin

10 Freya Douglas-Morris Studiolo 11 2014 Spazio Cabinet Milan - Courtesy Spazio Cabinet Milan - Photo Filippo Armellin

5 Freya Douglas-Morris Studiolo 11 2014 Spazio Cabinet Milan - Courtesy Spazio Cabinet Milan - Photo Filippo Armellin

6 Freya Douglas-Morris Studiolo 11 2014 Spazio Cabinet Milan - Courtesy Spazio Cabinet Milan - Photo Filippo Armellin

11 Freya Douglas-Morris Studiolo 11 2014 Spazio Cabinet Milan - Courtesy Spazio Cabinet Milan - Photo Filippo Armellin

7 Freya Douglas-Morris Studiolo 11 2014 Spazio Cabinet Milan - Courtesy Spazio Cabinet Milan - Photo Filippo Armellin

13 Freya Douglas-Morris Studiolo 11 2014 Spazio Cabinet Milan - Courtesy Spazio Cabinet Milan - Photo Filippo Armellin

8 Freya Douglas-Morris Studiolo 11 2014 Spazio Cabinet Milan - Courtesy Spazio Cabinet Milan - Photo Filippo Armellin

14 Freya Douglas-Morris Studiolo 11 2014 Spazio Cabinet Milan - Courtesy Spazio Cabinet Milan - Photo Filippo Armellin

17 Freya Douglas-Morris Studiolo 11 2014 Spazio Cabinet Milan - Courtesy Spazio Cabinet Milan - Photo Filippo Armellin
photo: Filippo Armellin


“L’insieme è più della somma delle parti”. Nella teoria della Gestalt la percezione è una totalità strutturata fatta d’idee, memorie e suggestioni e i lavori di Freya Douglas-Morris sembrano ricalcare questo pensiero complesso.
 

Sono articolate trame di segni e sedimentazioni cromatiche che si compongono, frammentate, su fondi volutamente rarefatti.  La pittura, sicura, compone forme riconoscibili o grafismi suggeriti solo da contorni tonali e modulazione di luci. Come il campo visivo, l’immagine doppia si fonde in un unicum e l’architettura dell’immagine è un insieme di slittamenti, traslazioni e tracce mnemoniche.

Una resa fragile, poggiata su fondi laconici ed eterogenei in cui vuoti e suggestioni atmosferiche e naturali si congiungono in un insieme di tensioni latenti.

Lo spazio interno descritto è sempre circoscritto, finito e misurabile, quello esterno, infinito, pura estensione incommensurabile; l’immaginario, assorbito da esperienze, viaggi, libri, ritagli di giornali e fonti mai didascaliche, si posa sulla tela e sul suo spazio escluso, con la stessa inconsistenza del sogno.

La Pittura di Douglas-Morris è un fluido narrativo che racconta storie di uomini e luoghi resi astratti da divertissement geometrici. Riferimenti al reale si fondono al fantastico, descrivendo racconti sospesi fatti di simbolismi primordiali e rimandi mnemonici.

"The whole is greater than the sum of its parts". In Gelstat theory perception is a structured totality made ​​of ideas, memories and suggestions and the works by Freya Douglas Morris seem to follow this complex thought.

They are elaborated weaves of signs and coloured sedimentations, fragmented on deliberately rarefied surfaces. Painting, determined, makes recognizable shapes or graphic elements suggested only by tonal outlines and light modulation. As the field of view, the double image merges into one and the image architecture is a set of slips, translations and memory traces.

A fragile outcome, resting on laconic and heterogeneous surfaces where empty spaces and atmospheric and natural suggestions are combined into a set of latent tensions.

The interior space that is described is always circumscribed, finite and measurable, the outer one is infinite, immeasurable pure extension; the imagination, absorbed by experiences, travels, books, newspaper clippings and sources never didactic, rests on the canvas, and on its excluded space, with the same inconsistency of a dream.

Douglas-Morris painting is a narrative fluid that tells stories of people and places made abstract by geometric divertissement. Connections to reality blend together with imagination describing suspended tales made of primordial symbolism and mnemonic references.

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Freya Dougla-Morris
London 1980. Lives and works in London

Selected Solo Exhibitions: 2014 Studiolo #11 - one place or another, Studiolo Project, Milan; 2013 Painting Show, MA Painting, Royal College of Art, London; 2012 Passing Through Landscape, Campden Gallery, Chipping Campden

Selected Group Exhibitions: 2014 The Catlin Guide Exhibition, London; 2013 New Sensations 2013, Saatchi Gallery & Channel 4, London, Paper, Saatchi Gallery, London, Selected Works from the RCA Show, Christie’s, London, Degree Show, Royal College of Art, London, See Think Different, Drawing Room Projects, London, Big Rock Candy Mountain, MOT International Projects, London, Secret Postcards, Royal College of Art, London; 2012 Bloomberg New Contemporaries, ICA, London, Bloomberg New Contemporaries, Liverpool Biennial, Liverpool, WIP Show, Royal College of Art, London; 2011 Secret Postcards, Royal College of Art, London, Discerning Eye, Mall Galleries, London, Women's Lines, La Pan Gallery, Shanghai, Taken Away, Exmouth Market, London, RA Summer Exhibition, Royal Academy, London