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Artists
- Barbara Brown
- Natalie Bruvels
- MaryAnn Camps
- Brandon A. Dalmer
- Colin Muir Dorward
- Rah Eleh
- Christine Fitzgerald
- Alexandra Flood
- David Gillanders
- Atticus Gordon
- Kristy Gordon
- Leslie Hossack
- Andrew Morrow
- Troy Moth
- Judy Nakagawa
- Christos Pantieras
- Susan Roston
- Daniel Sharp
- Michael Schreier
- Alex Sutcliffe
- Norman Takeuchi
- Sarah Tompkins
- Guillermo Trejo
- Yvonne Wiegers
- Andrew Wright
- Lan Florence Yee
- Exhibitions
- News
- Our Approach
- Contact
-
Artists
- Barbara Brown
- Natalie Bruvels
- MaryAnn Camps
- Brandon A. Dalmer
- Colin Muir Dorward
- Rah Eleh
- Christine Fitzgerald
- Alexandra Flood
- David Gillanders
- Atticus Gordon
- Kristy Gordon
- Leslie Hossack
- Andrew Morrow
- Troy Moth
- Judy Nakagawa
- Christos Pantieras
- Susan Roston
- Daniel Sharp
- Michael Schreier
- Alex Sutcliffe
- Norman Takeuchi
- Sarah Tompkins
- Guillermo Trejo
- Yvonne Wiegers
- Andrew Wright
- Lan Florence Yee
- Exhibitions
- News
- Our Approach
- Contact
-
Artists
- Barbara Brown
- Natalie Bruvels
- MaryAnn Camps
- Brandon A. Dalmer
- Colin Muir Dorward
- Rah Eleh
- Christine Fitzgerald
- Alexandra Flood
- David Gillanders
- Atticus Gordon
- Kristy Gordon
- Leslie Hossack
- Andrew Morrow
- Troy Moth
- Judy Nakagawa
- Christos Pantieras
- Susan Roston
- Daniel Sharp
- Michael Schreier
- Alex Sutcliffe
- Norman Takeuchi
- Sarah Tompkins
- Guillermo Trejo
- Yvonne Wiegers
- Andrew Wright
- Lan Florence Yee
- Exhibitions
- News
- Our Approach
- Contact
Here's A Place to Start
Here’s Place to Start, Andrew Morrow’s first solo exhibition with Studio Sixty Six, marks a shift away from Western historical narrative painting towards intimate, personal, and socially-motivated figurative works. Drawing from theorists and philosophers Elizabeth Povinelli, Georg Hegel, Édouard Glissant and Hannah Arendt, Morrow proposes a material painting practice grounded in notions of friendship and rooted in mutual recognition, opacity, stewardship, transparency, and appearance. Developed principally from what Morrow calls “studio sessions” (provisional spaces of mutual and consensual sovereignty) the paintings in this exhibition act as public indexes of the artist’s private and personal exchanges.
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Acquired