Body, Joy, Cage, Scarfeatures drawings, embroidery, sculpture, and video that explore the human body as a tool, a worksite, and a raw material. This exhibition is currently on view at the Arlington Arts Center (Arlington, VA) September 25 - December 18, 2021. Learn more about the exhibition and read the full Exhibition Statement here.
In Within/Between, AAC Resident Artists Olivia Tripp Morrow and Jen Noone explore materiality and form. Jen Noone explores the relationship between the appearance of a thing, its material make up, and its function. In her sculptures and other three-dimensional works, cement is a decorative element, a structural support, and a container, while makeup, gray clay, house paint, and foam insulation board are combined to create forms and surfaces that mimic cement structures. Olivia Tripp Morrow’s work addresses the body, memory, sexuality, domesticity, and excess. For Within/Between, she uses found, recycled, donated, and discarded blankets and other domestic materials to create structures that evoke bodies, including spaces within spaces that provide shelter or comfort.
Arlington Art Center, Arlington VA (June 16, 2018 - September 29, 2018)
Nine Patch is a widening exploration into societal notions of beauty, femininity, sexuality, and the body as landscape. In this exhibition, Morrow juxtaposes self-portraiture and traditional quilt patterns in photographic manifestations. This process compiles thousands of "selfies" taken by the artist, which are digitally assembled into traditional and non-traditional quilting patterns. Constructing and deconstructing these images until they become highly stylized abstractions, the final compositions simultaneously conceal and reveal her own body. The act of crocheting/quilt-making was once a family legacy but has largely dissipated from living memory with the generations past. Morrow (a non-quilter) is reexamining this piece of family history through video, photography and sculptures that utilize found and donated textiles. These personal, collected materials indicate comfort, intimacy, and traditionally domestic spaces, but aim to reach ideas surrounding solitude; or more precisely acts of solitude, such as the labor of quilting/crocheting.
IA&A at Hillyer, Washington, DC (June 1, 2018 - July 1, 2018)
Gradient features DC-based artist Olivia Tripp Morrow's newest works, which utilize bras, underwear, and pantyhose donated from women as materials that are imbued with untold personal histories. Constructed in gradients across a range of skin-like hues, these works maintain the original intent of form-fitting undergarments (to stretch, to conform, to contain) and allude to the beauty, strength, and multiplicity of women's bodies and experiences.
Blank Space Gallery, Anacostia Arts Center, Washington, DC (August 15, 2017 - September 5, 2017)
Over the course of an eight-week Artist Residency at the Anacostia Arts Center (Washington, DC), Olivia Tripp Morrow transformed the Vivid Solutions Gallery into a colorful, immersive sculptural installation. During this time, women-identifying visitors were invited to donate clothing or other textiles, and to share a story, memory, or personal experience about the item(s) they donated. These textiles became the materials for Morrow's installation: they were cut and torn into strips in the gallery, and then woven by the artist into the chicken wire armatures hanging from the walls and ceilings of the gallery. This residency and solo exhibition was the first iteration of a series called IMMERSION, which was funded in part by the National Endowment for the Arts.
Vivid Solutions Gallery, Anacostia Arts Center, Washington, DC (July 22, 2017 - September 18, 2017)
In her first solo exhibition, Skin Contention, Olivia Tripp Morrow utilizes crocheted blankets and a recorded performance on video as mediums to challenge cultural notions of feminine beauty and domesticity. Historically, knitting and crochet has been considered a domestic craft reserved for women. Some of the blankets in this installation were made by women in Morrow's family, and others were donated to local reuse stores in Syracuse, New York. The white crocheted blanket used in her video performance was made by her great, great grandmother. Though crocheted blankets may appear to be delicate because of their thin layers and intricate, floral patterns, they are actually quite strong and resilient due to their unified structure created by the act of crocheting. Evidence of this tension is conveyed throughout the installation in contrasting indications of struggle and captivity, fluidity and harmony.
Point of Contact Gallery, Syracuse NY (January 31, 2012 - February 20, 2013)