“Though various things inspire my work, I always find myself going back to history and space. History because nothing happens in a vacuum, and so everything is informed by something else. And space because everything exists within it, as well as the precarious way physical space has been treated throughout history. It would be nice to say that I used identity as the prism through which these two themes intersect. And from it I wish to tell stories and add to existing discourse.”
when a person attempts to cross the sea, ‘it’s because you’re already dead.’
– Jaz Morrison (2020), Why ‘Atlantics’ is a beautiful reflection of Blackness, Black Ballad
Jaz Morrison is a writer and visual artist based in Birmingham, UK. She explores history and social space through photography and collage. By embracing subversive aesthetics, Jaz provides a basis for memory- and sense-making, which she describes as ‘storytelling’.
A series of paintings made using oil paint and silicone, 2020
During my time on my MA course I began incorporating silicone into my work. I was drawn to this material for its thickness, malleability and transparency. The work produced this year is a continuation of exploring the physical matter of paint and silicone; aiming to both challenge and embrace painting. The shift from 2D to 3D allowed me to explore the sculptural potential of the materials.
I am a visual artist predominantly working with paint, looking into paint as a three-dimensional material. As an abstract painter, my work has been focused on process and gesture, using materials to create heavily textured surfaces, using a variety of unconventional tools, such as piping bags and syringes.
You can see my body of work in relation to theoretical debates and my own consideration of the materiality of paint, which has led me to consider my works as an expansion of painting. The influence of art movements such as Abstract Expressionism and Excessivism has aided me to think about materiality, mark-making, shape and texture.
I work in a collaging process; I love this technique because the viewer can almost re-create the order and process in which the strokes were applied. When a skin forms, I can manipulate these movements before the material is dry which allows me to animate the gesture. With my interest in the close up of a painting, the emphasis on the individual brush mark is consistent, as well as my interests in the seduction of paint. This work reflects both what I love in paintings aesthetically and my perceptions of contemporary painting.