Trevor Lloyd Morgan

OLIVE: Son Coll, 2023: A series of images of Olive trees taken during a full moon at Son Coll Deià, Illes Belears, Spain. All images are pigment prints on Hahnemühle photo-rag 302g archival paper, 90 x 90 cm image area. editions of 6 plus 2APs.

An exploration of intense human interactions on a dance floor, from the remote distance of my studio during the Great Lockdown in 2020. This series of 16 video still images is derived from a 20 second iPhone recording at a live concert in Berlin, 2012.

All ditone pigment prints on Hahnemühle photo-rag ultra smooth 305g matte archival paper.
110 x 70cm or 70cm x 110cm
editions of 5

An ongoing photographic series comprising blown-up images of windows extracted from urban facades. The resulting images present highly textured, pixelated views into interior spaces – opening a portal to semi-fictional moments from everyday urban life. The naming convention uses the direction when facing the window, the city name and the year the image was taken.

All ditone pigment prints on photo-rag ultra smooth 305g matte archival paper, various sizes and editions.

Abstract noir image series that evokes everyday urban landscapes. Selections through cropping discrete squares refer to the digital pixelated medium that capture them (Pick Cells).

Series of 26 images, 2016
Pigment print on archival paper
70cm x 70cm (each)

Series of large format photographic images of communal gatherings around fire. Printed on paper, torn, then crumpled dissolves the formal photographic medium to create sculptural objects, further referencing the subject matter as fuel for the fire, a crumpled piece of paper.

The Baw Baw series (2016) from Baw Baw Shire in East Gippsland, Australia comprises 10 images.

Pigment prints on torn and crumpled archival paper.
140 x 140cm (edition of 3), 60 x 60cm (edition of 6)

This series of video works explores and presents my personal visual domain as I move through public space. I do this by deconstructing the spaces I inhabit – trains, railway stations, parks, plazas and shopping malls and my physical responses within them – my up, down, left, right, future and past. The works investigate home, dis/location and body spatiality of everyday journeys through urban places and spaces. This embodied transit space is portrayed as an isolated and shared experience that encompasses fluctuating states of conscious space in repeated journeys.

To capture these images I have developed a recording apparatus I call a “Personal Documentation Unit” (PDU), which comprises five small CCTV video cameras and recording devices hidden and sewn into a hat and coat. The five cameras record my personal visual domain (my up, down, left, right, forward, backward, past, present and future) allowing me to unconsciously memorialise everyday journeys, while revealing how I move, react and orient myself in a foreign neighbourhood to feel “at home”.

The PDU captured material is compiled and formatted in Head_X configuration that challenges conventional representations of video as a single channel, two-dimensional medium that simulates a three dimensional experience, by constructing and deconstructing the multiple view points from the PDU in seemingly three dimensional and flattened “cubes”.

Finding Home: From Space to Place in Transit
View/Download PDF here.
Further information is available via: RMIT University research repository here.

Head_X3: Ulica Piotrkowska is a 96-minute video journey of the artist walking up and down the main thoroughfare of Lodz, Poland. It was created for, and exhibited at, Archeology of Piotrkowska Street at the Lodz Biennale (2010), and at Memory of Present, Coup de Des, Berlin (2012). To produce the work Morgan created the technical apparatus to film in five directions simultaneously. The post-production focused on animating the format that Morgan refers to as his Head_X constructions, which create three dimensional journeys.

16:9 1080p single channel, colour, sound and shown in unedited
real-time.

For researchers and curators wishing to see more of this work and for further context please view:
Finding Home: From Space to Place in Transit
View/Download PDF here.
Further information is available via: RMIT University research repository here.

This series uses transit spaces in Europe and Australia as a place for experimenting with different styles of image making such as the abstract, realist and narrative, all with a perspective of movement. Sometimes multiple images are compiled, sometimes one image is simply broken by the image construction; often it is hard to know when. Shot directly into, or out of train windows: the camera always pointing at a 90-degree angle either toward the platform from a train window or toward a train from the platform. This convention traverses the space between the observer and the observed.

Each glossy pigment print is mounted behind 10mm plexiglass in 5 sections. Overall dimensions 105 x 420cm. (editions of 3)

A video painting that depicts a two-hour commute from a suburban garage in New Jersey along the Garden State Parkway, the NJ Turnpike, through the Lincoln Tunnel and ending in an underground car park in downtown Manhattan. The commute is slowed to one-third speed of real time to create a six-hour piece that explores fluctuating states of unconscious and acutely conscious space for a commuter traversing the physical, social and psychological terrain of a known journey.

PKWY TRNPKE TUNNEL: 2:3 NTSC DVCAM, single channel, 2004.

Series of 15 stills: pigment prints mounted behind matte plexi, 20 x 30in (51 x 76cm), 2004.

RT4S NJ 07733 captures an out of car observation on a two-lane highway in central New Jersey. The title is a specific location: Route 4 South, New Jersey, 07733. These images are taken from an 8-minute real time video loop that documents an objective perspective of a discrete location that is impossible to view while driving. They are also a series of 30 printed video stills.

RT4S NJ 07733, 2003
8-minutes, 2:3 NTSC DVCAM, single channel
edition of 6.

Archival pigment prints mounted behind plexiglass, 20 x 30 inches, 2003. editions of 6.

Hearth is a multimedia installation project that serves as a vehicle to explore perceptions of simulation, surveillance and the nature of the home in public and private space.

Hearth consists of cut logs on an iron grill backlit with an orange light bulb. Behind the logs, a rotating wire with tinsel rubs against the edge of a piece of plastic to make crackling noises. Hearth lives in a water and fire proof metal case with wheels and a telescopic handle, along with extension cords, spare globes, safety instructions, disposable camera with tripod, power converters and a custodial contract.

Volunteers sign a contract to live with and care for Hearth for up to 3 months during which time they are asked to document their experiences in some way. Public installations capture the surveillance of simulation. A catalogue of postcards documents and extends Hearth's journey to date.

Follow this project on Instagram at heart.tv

If you would like to be a part of this ongoing project please contact here.

Habitation is an installation project that exists as a series of photographs of the human form that are abstracted into discrete portions, stretched, contorted and multiplied to produce a series of multi-layered, decorative patterned digital images.

This pictorial data is output and transmuted on three different media: as digitally printed decals with glaze inks baked onto ceramic tile, as printed wallpaper rolls and as a wallpaper frieze.

Glaze ink on ceramic tile and pigment print to wallpaper, variable dimensions, 1998.