Isaiah Morris is a London based, Australian born, multimedia artist, curator, and researcher.
The experience of aisthesis, the imagination’s formation, and how these change our perception of the Self, the World, and God, occupies much of his thought. He pursues this in three modalities: Image, People, and Word. (And when not, he’s probably making Creme Brûlée.)
He’s shown projection and light-based installations across Australia, Japan, Korea, and the United Kingdom, often in public & non-traditional spaces. His concern is with how these environments affect the viewer's perception of what is real and not, blurring the lines between tangible and ethereal. Often, he collaborates with global streetwear brands, artists, music festivals, and not-for-profits, for audiences of 100 to 50,000+ people. He’s curated over 40 music events to support emerging artists (mainly via New Kids) and in 2017 he founded the No Vacancy Window to create exhibiting opportunities for video and motion artists.
Isaiah holds a Master’s in Christianity and the Arts (with Distinction) from King’s College, London and the National Gallery. He is an Emerging Leader at the Centre for Cultural Witness and a Bill Snelson Young Ecumenist.
Currently, his research concerns New Media Art’s theological aesthetics, Australian Pentecostalism, and the work of Hans Urs von Balthasar (of which his dissertation on Balthasar won the Relton Prize for Christian Doctrine).
You can read his inconsistent meanderings at (re)figure.
The experience of aisthesis, the imagination’s formation, and how these change our perception of the Self, the World, and God, occupies much of his thought. He pursues this in three modalities: Image, People, and Word. (And when not, he’s probably making Creme Brûlée.)
He’s shown projection and light-based installations across Australia, Japan, Korea, and the United Kingdom, often in public & non-traditional spaces. His concern is with how these environments affect the viewer's perception of what is real and not, blurring the lines between tangible and ethereal. Often, he collaborates with global streetwear brands, artists, music festivals, and not-for-profits, for audiences of 100 to 50,000+ people. He’s curated over 40 music events to support emerging artists (mainly via New Kids) and in 2017 he founded the No Vacancy Window to create exhibiting opportunities for video and motion artists.
Isaiah holds a Master’s in Christianity and the Arts (with Distinction) from King’s College, London and the National Gallery. He is an Emerging Leader at the Centre for Cultural Witness and a Bill Snelson Young Ecumenist.
Currently, his research concerns New Media Art’s theological aesthetics, Australian Pentecostalism, and the work of Hans Urs von Balthasar (of which his dissertation on Balthasar won the Relton Prize for Christian Doctrine).
You can read his inconsistent meanderings at (re)figure.
Image
A translation of audible encounters into visual landscapes through Projection Mapping, VJing, & Light-based installations.
Often seen at music festivals, cyberspace, & bespoke events.
Collaborators Include: Star Wars, Red Bull AU, Vogue AU, New Balance, Sony AU, Untitled Group, Piknic Électronic, Melbourne Music Week, The Operatives, Strawberry Fields Festival, & Foreign Echo.
Experimental Projects
An attempt to push the intersection of digital euphoria and human connection.
People
Curating spaces for human connection, and friendships that become collaborators.
New Kids (2019)
80+ Local Melbourne Artists; 2 international acts; 37 consecutive weeks.
@Newkids.melb was created to bridge-the-gap between genres, scenes, communities and humans of Melbourne. Where collaboration occurs, artistic ingenuity emerges. From Indie-Rock, to techno, ProtoMoro jamming for 2 hours, to helping @poly.connection throw their first event, this was a place to meet new friends and re-kindle old; an invitation to communicate across sounds.
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.
Word
A trial in articulating with theological language the sub-cultures I find myself within: New Media Art, Clubbing, and the Church.
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.
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