Works by Participating Artists

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  • Morre_Passwords_and_Signs
  • Morre_365_Digital_Selves
  • Morre_365_Neurochemical_Selves

Indira Martina Morre

365 Digital Selves. 2009. Graphite, china marker, and gesso on linen over panel. 24 x 24 in.

365 Neurochemical Selves.  2007. Graphite, pastel, and gesso on linen over panel. 24 x 24 in.

Passwords and Signs. 2010. Graphite, china marker, and gesso on linen over panel. 12 x 12 in.

Untitled V (incompleteness yields consciousness).  2010. Graphite and gesso on panel. 8 x 8 in.



As a continual psychological investigation of the contemporary human condition, my recent paintings examine the modification of my cognition and experience of the world in the engulfing presence of technology. Spending more and more time in the realm of information screens, sometimes I am unsure of where I stop and the world outside me begins. Screens take my passive body anywhere within seconds while passwords open windows through which arrows direct my mind. Duality of being - my experience of presentness and remoteness, predictability and randomness, order and chaos - is conveyed in my paintings as a visual negotiation of a new paradigm.


My recent body of work called Password: Sign Disintegration is a contemplative allegory about contemporary psychological shift in a technology-driven, information-dependent, overstimulated society. My desire is to expand and complicate these ideas with images that are suggestive of naturally occurring shapes and patterns (nets, maps, neurons, stars, globes…) in dialog with shapes generated from the human-produced, artificial world (passwords, data bodies, computer symbols, pills, networks…). The symbols on my computer, a continuous and endless number of clicks, dots, circles, lines, crosses, and arrows, depart onto canvas and disintegrate to become a psychological map, a hand-made network of a presence in time, a mark. I repeatedly render perfect, utilitarian, and timeless signs by hand to access the imperfect, contradictory, time-bound being on the other side of the screen.


My practice requires alchemical painterly innovation including the laborious preparation of a gessoed surface on canvas over panel. Using graphite and ink allows me to alternate multiple layers of drawing with thin applications of gesso while retaining a smooth, paper-like surface. A diary of daily overlapping entries results in the appearance of complicated perceptual depth. I am continuously pursuing concepts and methods whereby drawing and painting is revitalized as a palpable, fluid catalyst in an ever-changing present.

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