November 16- December 23, 2023
Gross McCleaf Gallery, Philadelphia
Photos: Adrian Cubillas & Gross McCleaf Gallery
Glyph 1, 2023, oil, acrylic, and papier mache on panel, 48 x 52 inches (diptych)
Glyph 2, 2023, oil, acrylic, and papier mache on panel, 48 x 52 inches (diptych)
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2023
oil, acrylic, and papier mache on panel
12 x 12 inches
Circumpoint, 2023, oil on canvas, 60 x 40 inches
installation shot & details: Circumpoint, 2023, oil on canvas, 60 x 40 inches
Column, 2023, oil on canvas, 12 x 12 inches & Circumpoint Study, 2023, oil on panel, 12 x 12 inches
“My work seeks to find throughlines from the ancient past to present to future. I want to know how things change through time and how they stay the same.”
-excerpt from History Eats Itself, interview with Elizabeth Johnson
Source Code, 2023, oil on canvas, 8 x 10 inches
Proto-Primrose, 2023, oil on canvas, 24 x 18 inches
Cave Felem, 2023, oil on canvas, 14 x 11 inches & Analog Arrangement, 2023, oil on canvas, 14 x 11 inches
Pompeii Projection, 2023, oil on canvas, 18 x 24 inches
Console, 2023, oil, acrylic, and papier mache, 14 x 9.5 x 6.5 inches
Console
2023
oil, acrylic, and papier mache
14 x 9.5 x 6.5 inches
Fountain 3 - DigiWells
2023
oil on canvas
24 x 12 inches
Fountain 2 - Techno Falls
2023
oil on canvas
24 x 12 inches
Fountain 5 - The Oracle
2023
oil, acrylic, and papier mache on canvas
24 x 12 inches
Fountain 6 - ArchaeoAqua
2023
oil on canvas
24 x 12 inches
Fountain 7 - Streaming, 2023, oil on canvas, 24 x 12 inches
Fountain 4 - Mythic Springs
2023
oil on canvas
24 x 12 inches
Fountain 1 - Cybernetic Cascade
2023
oil on canvas
24 x 12 inches
Foutain Series 1 - 7, 2023, oil, acrylic, and papier mache canvas, 24 x 12 inches
Reflector, 2023, oil and papier mache on canvas, 24 x 18 inches
Full Exhibition
Press Release from Gross McCleaf Gallery, Nov 2023
“My work seeks to find throughlines from the ancient past to present to future. I want to know how things change through time and how they stay the same.”
- Morgan Hobbs
Gross McCleaf Gallery is pleased to present Chronolith, Morgan Hobbs’ first solo exhibition in Philadelphia and with the gallery.
Guest writer Lauren Whearty says: “Hobbs’ body of work focuses on the slow and methodical process of building a language - a new form of communication through paint, papier-mâché, and image. Each symbolic form is a building block for a wide array of possibilities with the potential to make new meaning through different combinations, or to break down the strength of an individual symbol into a more democratic piece of a larger whole.
While I recognized many of the symbols from her previous bodies of work, like the interiors in her Bell the Cat series, the forms now exist on their own free to roam the studio and assert themselves as sculptures and whole compositions in dimensional paintings. The forms are still understood as ornamental symbols, however, the mass of the sculptures and the dimensional qualities in the paintings give a more architectural feeling and weight to each glyph. The duality of the actual weight vs the perceptual weight is just one of the many elements of tension presented in this work. The works also perform a balancing act between painting and sculpture, and between the single vs the many.
Hobbs doesn’t give us the opportunity to fully grasp these works in any one sitting. Like investigating a lost civilization, we cannot ask the people questions, and Hobbs doesn’t give us all of the answers. We are given a rich body of material and symbolic language to navigate and interpret on our own. As the viewer, we are also the ones who complete the meaning through our own relationships with the symbols and our experience with the art. In art, life, and archeology we are limited to our own perspectives and time periods. Hobbs makes that a point of excitement,” (Whearty’s statements have been lightly edited for style and length).