Isaiah Morris is a London based, Australian born, multimedia artist and researcher.
Guiding his work is the question of aesthesis’s experience, the formation of our imagination, and how these change our perception of the world and ourselves. This question has taken on three distinct forms: academic, arts-based practice, and curatorial. (And when it’s not, it’s probably because he’s making crème brûlée.)
As a recent graduate student in Christianity and the Arts at King’s College, London, in collaboration with the National Gallery, London, his academic research concerns: visual art as a theological “text”, the work of Hans Urs von Balthasar, and Pentecostal theology (particularly its Australian manifestation). He is an emerging leader at the Centre for Cultural Witness, and a Churches Together in England ‘Bill Snelson Young Ecumenist’.
Artistically, he explores the ever-increasing use of digital media and technology in society and how it affects us, changing the landscape for Human communication & creativity. Frequently working in public & non-traditional spaces, he’s concerned with how these environments affect the viewer's perception of what is real, and not; blurring the lines between tangible and ethereal: collaborative canvases adorned with light. Commercially, he produces New Media art installations for Global brands, Australia's fastest emerging artists, and cultural tastemakers across Australia and the Asia Pacific.
Curatorially, Isaiah has a deep-passion for creating opportunities for emerging artists to showcase and perform their work. This caused two curatorial projects: the No Vacancy Window and New Kids.
View CV
Guiding his work is the question of aesthesis’s experience, the formation of our imagination, and how these change our perception of the world and ourselves. This question has taken on three distinct forms: academic, arts-based practice, and curatorial. (And when it’s not, it’s probably because he’s making crème brûlée.)
As a recent graduate student in Christianity and the Arts at King’s College, London, in collaboration with the National Gallery, London, his academic research concerns: visual art as a theological “text”, the work of Hans Urs von Balthasar, and Pentecostal theology (particularly its Australian manifestation). He is an emerging leader at the Centre for Cultural Witness, and a Churches Together in England ‘Bill Snelson Young Ecumenist’.
Artistically, he explores the ever-increasing use of digital media and technology in society and how it affects us, changing the landscape for Human communication & creativity. Frequently working in public & non-traditional spaces, he’s concerned with how these environments affect the viewer's perception of what is real, and not; blurring the lines between tangible and ethereal: collaborative canvases adorned with light. Commercially, he produces New Media art installations for Global brands, Australia's fastest emerging artists, and cultural tastemakers across Australia and the Asia Pacific.
Curatorially, Isaiah has a deep-passion for creating opportunities for emerging artists to showcase and perform their work. This caused two curatorial projects: the No Vacancy Window and New Kids.
View CV
Commercial Collaborations
Clients Include: Star Wars, Red Bull AU, Vogue AU, Untitled Group, PUMA AU, Piknic Électronic The Operatives, Diesel, Strawberry Fields Festival, Melbourne Music Week, Sony AU, Foreign Echo, Empire Touring.
Experimental Projects
Pushing the intersection of digital euphoria and human connection.
Curatorial
New Kids (2019)
80+ Local Melbourne Artists; 2 international acts; 37 consecutive weeks.
@Newkids.melb was created with the intention of bridging the gap between genres, scenes, communities and humans. Where collaboration occurs, artistic advancment begins. From Indie-Rock, to heavy techno, ProtoMoro jamming for 2 hours, to helping @poly.connection throw their first event, or our month of livestream collaborations. This was a place to meet new friends and re-kindle old; an invitation to collaborate across borders.
No Vacancy Window (2017-18)
The No Vacancy Window is an unconventional experimental video site.
Emerging artists are invited to create a site-specific work that challenges the notion of what 'video' is. Working within physical constraints, how far an artist can push the space, is a testament to their ability as an individual. All the while providing the audience with a looking glass into the future of Melbourne Artists, and their ideas.
The No Vacancy Window invites emerging artists to create a site-specific work encapsulating and translating Melbourne's political, social and environmental landscape, into a video based work. Grounded in locality and living in Melbourne, but projecting these ideas into the future and broader community and world. We invite ideas and questions that speak to you as an artist who lives amidst this society.
The Creational Gaze: Affinites and Hermeneutical Implications between Marina Abramović’s The Artist is Present and Galatians 5:22-25, in the Journal for Interdisciplinary Theology, vol.1, 2024
(re)figure, a somewhat-regular meandering through a salon of theology, poetry, art, philosophy, and flowers. But, more fundamentally, hopefully, a space to behold and contemplate Mystery.
Subscribe (or read) here