Despite the traditional beauty of her oil paintings, Morgan actively contradicts simplistically pretty hyperrealism with gritty psychedelia. Old Masters and a concept of dimensional layering were two significant contributions to the bevy of new work. Morgan has an informed understanding of art history, color theory, and design theory that is simultaneously addressed and deconstructed. These references appear as figments, sheer filters for a dimension that pulls from the multiplicity of the present.
Morgan's passion for spiritual science translates into an interest in provoking a multitude of physical dimensions. Confronting the raw canvas and its function as a corporeal boundary are important components in many of these paintings. Each additive technique or reduction of the canvas allows Morgan to investigate perceptual layers. Figures fluctuate in and out of the background by way of pattern; stripes, zips, and even checkerboards distort the fore and complicate the viewer's understand of compositional space.
Dimensional incongruity in Morgan's work extracts sobriety, focus, and a sense of yearning from her sitters. The peculiar elegance of her work transcends photorealism in its connection to the body, to the moments of humanity. Morgan fastens to her subject's breath, thought, and life. She catapults each model into the light.
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