These colors just pop! The various constructed 3D like shapes hold vivid fluorescent colors. Sarah Morris is currently featured in the April addition of
Architectural Digest
Morris has forged an international practice encompassing both film and painting. She comes to architecture, her primary subject, less from the aesthetic standpoint one might expect and more from a psychological and political perspective; her work subtly mines architecture’s inextricable links to power—to corporations and governments, not to mention the inevitably enormous egos behind its creation in the first place. She is also curious about what she calls the cinematic qualities of the built world, or “how we read ourselves moving through it, how we read others moving through it.” Her own phobia of public spaces does not inhibit her fascination with how buildings—and even Vegas-style lighting and other distractions—can lure people in. “You see that Chase bank uses this now,” she says. “It looks like a casino as you go into the ATM.”
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Morris has forged an international practice encompassing both film and painting. She comes to architecture, her primary subject, less from the aesthetic standpoint one might expect and more from a psychological and political perspective; her work subtly mines architecture’s inextricable links to power—to corporations and governments, not to mention the inevitably enormous egos behind its creation in the first place. She is also curious about what she calls the cinematic qualities of the built world, or “how we read ourselves moving through it, how we read others moving through it.” Her own phobia of public spaces does not inhibit her fascination with how buildings—and even Vegas-style lighting and other distractions—can lure people in. “You see that Chase bank uses this now,” she says. “It looks like a casino as you go into the ATM.”Read more
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