Georgia Morgan works with thresholds: an open window, a hole in the fence, a pause for thought in conversation. Her constructions are the building of new and familiar cracks that are portals to memories that are neither hers, nor necessarily real.
Morgan is quickly establishing herself as an important voice in contemporary practice through multidisciplinary works that include large scale site-specific installations, photographs, videos and ceramics. Her work recollects fragmented narratives through the rearrangement of material and architectural hierarchies.
The artist is inventing her own vernacular architecture, making use of found materials, found stories and found rituals. Overlaying, photocopying, stacking and mortaring a multilayered present that is thicker than what is real. Morgan draws freely on the local knowledges of the places that she inhabits as well as places she has never been—places that are dreamed, relayed to her in conversation, rumoured, intuited and invented—she reconstructs them anew creating fantastic dioramas that are as reverent to shrines as they are to carparks. Every work is a site-specific beat poem, a spontaneous readorning of the mundane; transgressive and transformative.