BLOOMBERG NEW CONTEMPORARIES 2012- REVIEW
Sunday 2 December, 2012, by Laura Cumming, The Observer
New Contemporaries is old â€“ now into its seventh decade in fact. It started in 1949 as a showcase for art school graduates in the postwar doldrums and over the years has identified many young stars of the future, from David Hockney and Patrick Caulfield in the early 60s to Peter Doig and Mark Wallinger in the early 80s. It is a fine, if controversial, enterprise.
The controversy generally centres on who, rather than what: on who should make the selection from the annual degree shows, and how. Traditionally, the Young Contemporaries (so-called at the beginning) were chosen by older artists and art specialists; the director of the National Gallery was involved in the first show, for instance, and critics and curators had some say for a while.
Freya Douglas-Morris's large watercolour They Visited Twice has real force of personality. Two strangers in a strange land appear twice over: in one vignette they drift like a cloud form in the distance, in the other they are like willow pattern figures, hovering in a floating world of watercolour. With its subtle palette and delicate vision, this is a mysterious reprise of ukiyo-e.
BLOOMBERG NEW CONTEMPORARIES
October 2012, by Adams Covell, Celluoid Wicker Man
The melting pot of influences that come into making art are more honestly bore in the work of artists in their early stages. Continuing a look at the work in the New Contemporaries exhibition housed in Copperas Hill, these influences and likenesses seem unavoidable but pleasing to interpret (whether correct or not).
Freya Douglas-Morrisâ€™ work follows on well from this, seeming to be involved in similar themes though using a different medium. They Visited Twice and It Took Them Many Days show otherworldly vistas through paint and collage. It Took Them Many Days is the most accomplished painting in the exhibition, with a beautiful attention to shade and it not looking too unlike a Roger Dean artwork. The civilisation appears to be a mere few chimneys in the distance of a world of pale but beautiful colours, again empty of people with emphasis on the landscape.
â€˜THE ABSENT TRAVELLERâ€™- THE TRAVELLER ABSENTISTA SOLO PRESENTATION BY FREYA DOUGLAS MORRIS AT MIAMI
December 2010, FAD website
Freya Douglas Morris is an extraordinarily fine artist, her work resonates with memories conjured by her travels throughout the world. As a painter what interests Freya is the emotional response that a sublime landscape can produce, which is loaded with personal interpretation.
Freya walks the land, documenting details, mentally and physically (sketches and photographs) records the natural world. An act becomes part of the process of passing through. Back in the studio, she â€˜reforms and reinterpret these, into layered images using a mixture of combined memories, which form new, but on the whole recognisable scenes; landscapes into which the viewer can relate but cannot entirely place. I am interested in the ambiguity.â€™
The work, painted on board contain an uncertain narrative, elements taken from various places, figures are dwarfed by nature and objects are featured to give the viewer clues to the quiet drama taking place. As she states: It is the vastness of space, the sense of areas hidden and forgotten, to which I am drawn. The decaying beauty and contrast between the strength and fragility that these spaces provide. I often include an object, or a suggestion of a past human presence, into which a narrative is hinted, but not entirely understoodâ€™.
Fluff is curating an installation for this special exhibition. In order to give the work context, we are including the personal affects of the artist, for instance her shoes that walked in, objects and keepsakes she picked up along the way, diary text recounting her experiences on the road and other travelogue material.