Christine Morrow produces multi-part painted configurations out of canvases that fasten together by means of zippers. Each component is a monochrome canvas in the tradition of reductive painting (Formalism and Minimalism). However, the accumulative work exploits the material qualities of the painter’s canvas and stretcher frame to create dynamic, three-dimensional modular structures.
Morrow’s theoretical concern is with the history of painting in the West after the late 19th century. Throughout Modernism, painting has reinstated a relationship of mutuality with the gallery wall by cultivating flatness and seriality, thereby internalising the conditions of the wall on which it is shown. Morrow carves a new space for reductive painting that embraces both acceptance and denial of gallery walls as painting’s architectural support and it’s symbolic condition or governing logic.
Christine Morrow has held exhibitions in London, Rome and Edinburgh. In Australia, she has participated in group and solo exhibitions at Metro Arts (Brisbane), ACCA (Melbourne), CAST (Hobart), IMA (Brisbane), Performance Space (Sydney), West Space (Melbourne) and in the Adelaide Biennial (Art Gallery of South Australia). She was a finalist in the Moet and Chandon prize and a previous winner (overall) of both the Churchie Prize for emerging art and the Logan Art Award. She has undertaken international residencies through the AGNSW, the Australia Council and the Accademia Britannica; and domestic residencies at Gertrude Contemporary (Melbourne) and Artspace (Sydney).
Morrow co-founded and co-directed Blindside artist-run space in Melbourne. She curated the Australian artists for the Tenth Havana Biennial (Cuba). She has curated for institutions (Museum of Contemporary Art Sydney, Victorian Arts Centre Melbourne and Verge Gallery Sydney) as well as for festivals including the Melbourne International Festival and the Brisbane Festival.