Holding Place

Meredith Morrison


Opening Reception

Friday, April 1
7 – 10 p.m.

Close of Show

Saturday, May 14
Noon – 3 p.m.

Artist Bio

Meredith Morrison is a multi-disciplinary artist whose practice seeks to negotiate and sustain memory-material relationships. Morrison’s work is process-based and experimental, embedding itself in traditional fiber and craft techniques. She often calls upon intuition, meditative labor, and repetition to systematically collect and build beaded cloths and designed objects.

In 2013 Morrison received her BA in Art + Design, concentrating in Fiber, and a BS in Textile Technology from North Carolina State University. Influenced by the economy of her home state, North Carolina, and the complicated overlapping of agriculture and textile labor found there, she moved to Chicago, Illinois in 2013 to pursue liaison building between art, craft, and the textile industry. Here, she honed her skills as a Textile Product and Home Furnishings Designer for seven years before trading the efficiency and scale of manufacturing to consider the slow, hand-building techniques of embellishment. In 2021, she completed
her MFA in Fiber at Cranbrook Academy of Art, focusing her practice on beadwork and object building. Since then, she has rooted her life and studio in Detroit, Michigan where she continues to explore memory while collecting and responding to material attachments of the Midwest. She is a recent recipient of The Emerging Artists Fellowship through The Knight Foundation and Playground Detroit and is looking forward to her upcoming solo presentations here and with SHAG in Charlotte, North Carolina.

Artist Statement

Time is unyielding. We see beauty and heartbreak simultaneously as memories form, degrade, reform, and repeat. I am interested in the fragility of this cycle and the slippage of information that concurrently blurs and cements with each recollection. I am fascinated by the ways we care for memories over time and the shifting negotiations our neural pathways make to build, solidify and maintain these connections.

With attention to politics of function, I call upon intuition, meditative labor, and durational counting to inform the slow and systematic building of elaborate beaded cloths and designed objects. Repetitive actions of stitch and embellishment provide a fixed rhythm that encourages active remembrance and self-reflexivity. This making process, a call and response between material and memory, is imbued with emotion, fortifying bonds between the pair to yield a more sustainable relationship. The resulting compositions, simultaneously familiar and foreign, commemorate opulent, bittersweet, and tragic
moments of personal history to promote memory keeping. They are testaments to the complexity of our lived experiences and the instability of our memory landscapes– fusing the past and present to shape and share what cannot be expressed with words. Here, in this liminal space between nebulous and concrete, I contemplate the non-fixity of memories within my landscape and find romance in my quest to delay their impermanence.

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