I love you don’t leave me
2008 - Present
I love you don’t leave me is over a decade-long project based on photographs the artist took of glaciers in Antarctica and Greenland. The multiple series that belong to this project—each utilizing various disciplines, including performance, installation, photography (digital and analog), and experimentation—act like a collection of personal essays expressing her attachment to the sublime beauty of the ice and its ultimate loss caused by climate change’s impact.
Reality is a Good Likeness
2004 - 2013
“I swear to tell the truth, the whole truth and nothing but the mediated truth.
My reality was forever challenged and transformed when, as a young girl of 15, walking home from school, I noticed a familiar print, a simple flowered fabric hanging from our mulberry tree. Odd, I thought. Then, my eyes focused forward and adjusted to the present moment. I saw my house, once warm and safe, transformed into a charred skeleton. Our private belongings were strewn in the street, in the shrubs, in the neighbor’s yard. While I had sat at my desk that day, a simple gas leak had destroyed my home along with generations of mementos.
That day a new layer to my reality was added and it was forever changing.”
2001
9-11
After watching this event on television, and having been in New York the week after this event, Patricia Carr Morgan (like many others across the nation) expressed her sadness and anger using the medium she knows best.
1992
Endocardial Vocabulary: Trammeled
Memories and memorabilia are soon separated. Patricia Carr Morgan rescued these forgotten objects from the estate sales and junk stores that had become their resting places.
1989
Priapic Cube
Patricia Carr Morgan gave a lot of thought to tar and asphalt when she lived in downtown Los Angeles. The artist did several experiments using it as an art material, which culminated in the minimalist installation, the Priapic Cube.
Village One
1987
Compartmentalizing our feelings is a survival tool used by many, and it has helped me through many crises. These compartments in Patricia Carr Morgan’s mind are like a neighborhood of separate houses, each connected by the ground beneath them.
Enclosure XVIII
1985
Visiting King Tutankhamun’s tomb and seeing some of the intricate, beautiful objects left there for his use in the underworld was an impressive experience for Patricia Carr Morgan; but, it was the small personal note pinned on his mummy that became the inspiration for Enclosure XVIII, a tomb for contemporary man.
Dinner at Plexi’s
1981
After stepping into the clear Plexiglas cube and turning to close the door of this glittering, chic restaurant, the viewer is greeted by the cheerful reflections of the neon sign “Plexi’s”. However, now enclosed in the cube, they are both surrounded on four sides, but also separated from nipples, and cannot feel the supple, symbol of nourishment.
Mrs. Benifield
2015
Patricia Carr Morgan found this 19th-century photograph of Mrs. Benifield, her great-grandmother, in her father’s garage. It captured the artist’s imagination and led her to rummage through her studio looking for objects and memorabilia that connected with her image. These Mrs. Benifield montages are a record of what she found.
Relics
2006
When she was a teenager, Patricia Carr Morgan’s family home and all of their belongings were destroyed. Ever since, she has had an interest in personal history and memorabilia. Over the years, objects collected from estate sales have filled her studio.