Peter Morrens
Nazicht
2019
Handmade object in walnut, cardboard, plywood, gesso, graphite, ink, pencil and fabric
64 × 27× 27 cm
Edition of 12 copies, signed and numbered by the artist on certificate.
Out of stock
about this work
Based on his Point Blank Press series, the Belgian artist Peter Morrens produced a new multiple: a painted object entitled ‘Nazicht’. It can be a scale model for a larger sculpture and possibly, a small blow to your face, a silly insult, a friendly request, or a recalcitrant remark. However, partly due to its fragile form, it remains a balancing act. Some letters can possibly be cut off, creating new meanings.
Point Blank Press is a Direct Language agency with the maker as sole employee. The artist as an auditory flycatcher. The result is a series of drawings on school notebook paper, depicting captured text fragments persistent, rough, awkward and undisciplined. The title Point Blank indicates that neither a skill nor a goal is required: it is a pure, inevitable collision. Language saved from the genuine contingency.
This edition arrives in two parts with a small bottle of glue, and can easily be assembled at home.
about Peter Morrens
The work of Peter Morrens is not easy to define. He draws and paints, writes and photographs, makes sculptures and installations, does performances, and makes books and films. At first glance, his work seems to go in all directions. You might even think that it is the work of different artists. But actually, his practice is very coherent: he offers us a look at how we relate to the world.
We understand the world and our place in it through images, and how we interpret these in different ways. Peter Morrens works with fragments of these very images: he selects and copies, reworks and adapts existing images, and through his translation, they acquire a personal resonance. For this, Morrens uses very diverse image sources: found fragments from magazines, images from art history, early drawings of his children, images of his own works of art, preserved fragments of text, etc.In this way, Peter Morrens’ entire practice is based on collaboration and association: each work grows out of another image, text fragment or movement, and then in turn transforms into a new image. This constant transformation creates an ever-changing maze of meaning.
Many of the images Peter Morrens reworks are based on a source he made himself: older works of art by his own hand. He does this very consciously in order to break through the chronology of his oeuvre. As a result, Morrens’ oeuvre is not made up of separate works that follow one another neatly in succession, but rather of circular movements in which works are constantly being re-examined and adapted, so that new relationships are constantly being established.
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