Confusion, disturbance, outburst, upheaval, change, turning point, dilemma, climax, crisis…
There are so many words to describe how a trauma manifests itself. The Trauma series continue to explore the duality of meaning with each work playing on the viewer’s perception of a specific moment.
For example, in Skeptic, is the woman being startled or assaulted? Her body language can be felt as aggressive or weak. The overwhelming scale of the piece is intimidating, and influences the interpretation on the viewer.
In Spurn, is the man being censured by the spotlight? It has entrapped him and he appears overwhelmed by what he has encountered. But could he also be an assailant, temporarily forced back by his victim?
In this manner each painting offers an open ended construct to be engaged by the viewer.
Trauma Series: SCEPTIC
120” x 72”
oil on canvas - 2013
Trauma Series: SPURN
72” x 48”
oil on canvas - 2013
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Allison Morgan studied 3-Dimensional design for four years (1987 – 1991) at the Nova Scotia College of Art and Design, Halifax, Nova Scotia, and the Emily Carr College of Art and Design, Vancouver, British Columbia. Upon finishing school she opened a shared studio with a fellow artist concentrating primarily on multi-media sculpture. During the next four years through exhibitions and private commissions Allison was able to focus her ideas related to the reframing of the banal. Her art-making strategies included removing the everyday object from its natural context, thereby allowing the viewer to reinvent the object’s validity and imbue it with new, and possibly more critical meaning. In 1995 Allison moved to Barcelona, Spain where she began painting. She returned a year and a half later having been seduced by the possibilities of paint as a medium to continue her line of enquiry. For the next 10 years Allison continued to paint while raising with her husband their three small children. In 2002 Allison moved to Rome, Italy, where she pursued new strategies in painting, particularly influenced at this time by the first-hand viewing of the masters’ work and the new perceptive potentials of digital photography, which depicts, through both its technical virtuosity and limitation, what before was not meant to be seen; the in-between, the blur, the mess, the mistake, captured digitally and validated through paint, again exploring a renewed engagement of the everyday. After returning to Canada a year later, Allison continued to paint the everyday as a subject matter but with a renewed vision to use her paintings as a stage, inviting interpretation through shared experiences of the viewer. Through gesture, expression or location, her artworks suggest a subtext or duality of meaning.