Artist’s Statement:
As
a painter, I’ve never known how to describe myself by any one particular phrase
or label. Having borrowed from many
disciplines, all I’ve ever tried to be is just a school of one, as an
individual. But when I attempt to
describe my work to other people, I’ve found that labels are inescapable. After almost 30 years of watching my work
evolve, I can see how my paintings appear to be a combination of Realism and
Impressionism. So, lacking a better
term, I’ve called myself a Realist/Impressionist. To me this is a reasonable description for my style or technique,
but it doesn’t describe the spirit of my work.
My
goal has never been to paint reality just the way it is, and I’ve never tried
to paint my initial impression of it. Lately I’ve realized that my view comes
from the other end of the spectrum.
I’ve been trying to paint reality the way my subconscious sees it. Acknowledging this dependence on a
subconscious view, I tried calling myself a surrealist. But with no flaming feet or melting clocks
in my work, and no succinct explanation, this new label only made an
understanding of my work more difficult.
What follows, will hopefully clarify what I see as a connection.
My
most poignant dreams have not been nightmares. They come with soft distortions
and muted sounds instead of screams, and whether this qualifies me as bring a
surrealist or not, this is the way I paint.
Rather than the surrealism of Dali or Magritte, I feel closer to the
surrealism of Vermeer or Edward Hopper.
By filtering the reality of their own times through inner vision, they
both said something about time itself, without a dependence on the fantastic or
grotesque. Their work is strong because
it’s subtle. Like them, I don’t paint
my dreams and I don’t invent my own dream-like images. But I do use dreams as a reference, along
with another conscious phenomenon, that taps my subconscious view directly.
To
me, memories often seem like dreams.
When we think of a childhood home, we may remember our room, the yard,
events, etc. With effort, many other details surface that seemed
forgotten. But many times, the most
vivid memories of such a place are spontaneous and unsolicited. They come in a flash of recognition, with
almost photographic clarity, and like odd dreams, the conscious mind may
dismiss them as being weird and insignificant.
Rather then remembering things that we deem worthwhile, sometimes things
emerge that defy our sense of logic.
Instead
of visualizing the “Norman Rockwell” dinner scene that we might like to see,
out subconscious mind might represent that moment with the image of a gravy
ladle, or the corner of a room. Or it
could be the image of an obscure plastic chair, rather than the Sistine Chapel,
that makes us feel like we’re on a recent trip to Rome.
For
the purposes of my work, these unsolicited memories not only look like my
dreams, they serve the same larger purpose.
Everything from the subconscious is an affirmation that we are seeing
more of reality than we think. Using
the subconscious view as a guide, I take photographs of things that strike me
in a similar way. Then I use these
images and my drawings to do my paintings.
If a waiter from France would do better in New York, I’ll put him there.
If a distortion or mistake suits its’ space, it’s left uncorrected or it’s
enhanced.
Both
in the mechanics of what I do and in my thoughts, I do my best to let openness
direct my actions, instead of intellect.
I don’t want the shallowness that comes from trying to be deep. But I’m also not waiting for a Zen-like
trance or inspiration. Being open, I’m
free to think while the painting follows its’ own direction. I enjoy interpretation. It’s interesting to analyze why I liked my
composition to begin with, or why the significance of a simple object changes
when it’s painted. I’m intrigued by other things that almost can’t be changed,
like the odd stillness of something that should be moving, or a certain
likeness that looks like someone else.
Elements always show themselves as symbols when I paint. Preconceived ideas and opinions always
change and grow. But as in the best of dreams, I know that I’ve done my best
work when my final message is a mystery.
What
I don’t try to say in my paintings has always been much clearer. I’ve never tried to make a social statement,
or teach anyone anything. I don’t try to amuse or shock anyone. And I’ve never tried to paint a charming
frozen moment. Although I still can’t
find an acceptable label or description for myself, I do have a good idea of
what I’d like my work to be. I’d like
it to be like a living moment, with a past, present and a future that moves on,
unresolved, saying something indistinct.
Not just about the reality that we all see, or my impression of it, I’d
like my paintings to say something of its’ essence. I’d like my work to haunt.
Biographical Information:
Davis
Walter Morton IV was born in Bronxville, NY, on August 24, 1948. His childhood was spent in Bronxville and in
Chevy Chase, Maryland. He went to
private schools in New York and Baltimore, until getting married at the age of
16. At that time, Morton started
painting seriously, working full time, and going to high school and then
college at night.
In
1969 he joined the Montgomery County Police Department, in Maryland. He retired
in 1989. If the 20 years spent as a Policeman, Morton was the police artist for
18 years and worked as an investigator for 14 years in the narcotics, robbery,
sex and homicide sections. Since 1992,
Morton has been able to devote all of his time to painting as his sole career.
Education:
Due
to early responsibilities, Morton was unable to attend art school. Other than one anatomy course, taken from
Frank Wright at George Washington University in 1979, Morton is a self-taught
artist. He received his Bachelors degree in English literature from the
University of Maryland in 1977. Since 1975, he has traveled yearly to visit the
galleries and museums of Europe and Asia to further his education.
GALLERIES / AFFILIATIONS / EXHIBITIONS (partial listing)
"American Arts Quarterly" Magazine (article published, Winter 2002)
"American Artist" Magazine (article, December 2000)
"America's Most Wanted" Washington, DC (six drawings aired)
Antreasian Gallery, Baltimore Md. (show July 2005)
Art Effects Gallery, Merion, PA.
Arts Club of Washington, Washington, DC (show 1997)
Art Network Group, Bethesda, MD (publisher)
The Athenaeum, Alexandria, VA (Realism show 2001)
Baltimore Choral Arts Society, Baltimore, MD (show 2001)
"Baltimore Magazine" ("Thames Street" published in article September 2005)
Beresford Gallery, Boyds, MD and Saratoga, New York
Capricorn Gallery, Bethesda, MD
CNN "Wolf Blitzer Reports" (Live interview, October 2002)
Cudahy's Gallery, Richmond, VA
David Adamson Editions, Washington, DC
Fine Arts and Artists, Washington, DC
Fellus Gallery, Washington, DC
Fisher Gallery, Washington, DC (show 1997)
Foxhall Gallery, Washington, DC
Hemphill Fine Arts, Washington, DC
"Hillrag" Magazine ("Tango #2 appeared on cover, February 2005)
Joseph Keiffer Inc., New York, New York (Agent)
La Petite Gallery, Annapolis, MD
Mckissick Museum, Columbia, SC ( shows1999, 2001 Norrell collection)
North Dakota Museum of Art (show 2001)
Ontogeny, Potomac, MD (Phyllis Beek-Agent)
Occidental Grill, Washington, DC (show May 2001)
Pandion Gallery, Fishers Island, New York ("Sporting Art" show)
Paper - Rock - Scissors Gallery, Baltimore MD
Portrait Representatives, Towson, MD (Jean Trout-Agent)
Rablen West Gallery, Vero Beach, Florida ("Polo Paintings" show)
Somerville-Manning Gallery, Greenville, Delaware
"US Artists" show, Philadelphia, PA (Joseph Keiffer)
Veerhoff Gallery, Washington, DC
White Canvas Gallery, Richmond, VA
WTTG-FOX NEWS (Live interview, October 2002)