David E. Morris

Morris’s figurative realism stems from an intense and persistent interest in human anatomy from multiple perspectives: beauty in form, function, and structure. While continuing to teach anatomy at the medical school level, Morris uses charcoal, graphite, and oil paint in his artwork to convey something beyond the scientific aspect of the body. He strives to share something about what he experienced in the presence of those he represents. In this process of portraying people he explores concepts of psyche, intimacy, and gaze as it relates to gender. 

What's the purpose or goal of your work?
The work that I make tends to be small and its usually about people - sometimes portraits, sometimes of figures or figures in groups based on people I have met, talked with, or worked with. So it’s personal in that way. This is also the type of work that I tend to be drawn to looking at, and that I choose to surround myself with in my own home. When I look at a painting whether it’s in my own or someone else’s home, a gallery, or in a museum, sometimes the piece grabs me; maybe I identify with it in its intention, maybe I admire the way it was painted, or maybe something else. When this happens it reminds me of humanity - of what people are capable of doing. Extending this to my own work, I hope that if I make the work truthfully there will be others that come across it, that are drawn to it and that it incites some appreciation for humanity and gives hope for humans’ continuing to make things by hand. 

Do you have a network of other artists, and how do they support you?
33PA has been an important network, as it is a worldwide group of artists who share a common interest in figurative-based work. I have become friends with some PoA members through the internet, while others who live near me in Chicago I have met in person and, collaborated with through portraiture projects, and attended each other’s openings. In either case, members stimulate each other in terms of responding to common themes in exhibition calls, seeing how each other address these calls, and sharing technical and marketing ideas. 

What factors influence the price of your work?
My pricing is based on size of the painting per square inch. From that  I calculate a baseline price which I may modify based on any of the following: complexity (eg. does the piece contain one versus multiple figures), whether it is framed, and the commission of the gallery for the particular show. 

Describe your ideal working environment.
Much of my work is based on the figure or multiple figures within an environment or scene. When working on a piece where there is any sort of complexity, I break up the process into stages: concept sketches or thumbnails, acquiring the references (drawings and sometimes reference photos), value and color studies, transferring the piece to a substrate, and then the final painting. My ideal working environment depends on which stage I am in, as stages vary in terms of required concentration. For initial small concept sketches, I can do these anywhere. For value and color studies and for the final painting, I need to be in my studio, at my easel where I work under good quality lighting and have enough space to walk back and forth to assess changes. I like background music, sometimes jazz, sometimes electronica, but it can’t be too complex because it will distract me from solving the painting problems. 

When I am at the stage of working with models, I do everything possible to make those enjoyable sessions from the perspective of the model- from setting a comfortable temperature to having them pick the music. I have my studio set up well before such sessions in terms of lighting, props, furniture, etc. I always communicate with models beforehand as to the concept of the painting, types of poses I am looking for, and types of clothing if applicable. Often I will email them sample images/sketches to give them an idea.  

What are your most valued skills as an artist?
I recall a quote that goes something like “every invention starts with a drawing, even on a napkin in a restaurant.”  I think drawing is important for everyone to learn. For visual artists, especially those that work figuratively it’s indispensable and its important to continue to practice and refine.

An ongoing curiosity is valuable - about nature, about visual phenomenon, about why things appear the way they do, about how I can represent objects in a convincing way, and about why I like or don’t like certain pieces. This sort of questioning is what gives me, or any other artist their unique voice. That voice is bound do resonate with some other people, while not with others, and in fact it may even upset others. Through such curiosity and questioning, we each develop our uniqueness that will come across in our work, and that’s important, in fact beautiful.

What is the best advice you have received in your career?
Perhaps paraphrased, but persevere in continuing to make your work, especially starting new projects, and make a lot of work. Most of the visual artists and musicians that I admire were prolific and I am sure made a huge amount of work that most of the public doesn’t know existed. Realize that in your work there will be some successes (eg. acceptance into a desirable show, or even just making a piece that you feel good about) and many more failures. Don’t spend too much time thinking about any one success or failure, but rather keep moving ahead in making the best work you can.

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