Morrison employs a highly personalised language in order to engage with a universal cosmology. Totemic forms advance and recede to suggest an outer worldliness that is somehow beyond and even pre or post human. Morrison creates an inter-dimensional realm that is at times enticing and other times foreboding. Complimentary and subtle colour combinations might project stillness and harmony whilst abrasive, electric codes suggest the clinical, infirm or incubatory. Geometric portals, gateways and fissures convey a journey, a point of crossing over from one state to another.

Whilst nodding towards now retro futuristic film such as Stanley Kubrick’s ‘2001: A Space Odyssey’, Morrison also references 20th century abstract painting. Glimpses of Kazimir Malevich, Ad Reinhardt or Josef Albers can be traced in Morrison’s layering of form and colour. There is an acute awareness of the materiality of paint where subtle shifts in tone, texture and direction of application combine to create spatial and perspectival shifts; and underpainting and repainting bring our attention to the built surface. An inquiry into the equivocal, therefore, is underpinned by a rigorous investigation into paint itself.