Unfixed faces explore the space between control and distortion in portraiture. Within the last few months, Morris’ practice has moved away from controlled realism into something more instinctive expressive open and honest. 

The body of work began with a painting made from a loose sketch as a reference – not a photograph which forced a more intuitive and uncertain approach to painting, leaving certain details to the imagination. She then digitally distorted the painting through editing, warping and unbalancing the painting before using this altered version as the reference for the second portrait. This process allowed the distortion to emerge and grow in layers. Firstly, through instinctive painting then digital manipulation then back into paint again.

The paintings are displayed as a pair of portraits and reflect a progression from observation to abstraction. The first is raw and gestural but still recognisable, whereas the second is more psychologically charged, fragmented, exaggerated and quite uncanny. Through her work, Morris intends to explore how far a face can be pulled apart while still holding identity and presence, and the space between control and distortion.