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Greg Morrissey Fine Art

I have always been interested in the idea that living in an urban environment, in the midst of millions of people, can create a sense of loneliness and isolation. I also wanted to create an atmosphere where the viewer is in the middle of 3 separate planes: the plane of the painting, the plane where the viewer stands, and the reflections in the painting creating a plane behind the viewer. As a result I have taken as my subject the facades and windows of downtown buildings viewed from a vantage point above street level. The mathematical precision of the architecture creates a minimalist grid that contrasts with the suggestive narrative and hints of human occupation that are viewed within the windows.
The windows become paintings within the painting and the viewer becomes a voyeur looking into the spaces. In a reversal of the 19th century Romantics who used the window as a motif to look outward, my paintings seek to reveal the romance and mystery of the worlds within the buildings.
The most current of these paintings has begun to move away from the emotional element and more towards an emphasis on composition and format. As the building has become less important, the abstract compositions within the windows have moved to the forefront. The canvas has become the shape of the window or a portion of the building, thus turning the building into the canvas.

A facade of skyscrapers facing a lake and behind the facade, every type of dubiousness. E.M. Forster.

"you’ll know it’s the place built out of man’s ceaseless failure to overcome himself. Out of man’s endless war against himself we build our successes as well as our failures. Making it the city of all cities most like man himself-loneliest creation of all this very old poor earth."
— Nelson Algren (Chicago: City on the Make)

He realized the pain inevitable in any human relationship-pain suffered and pain inflicted. How foolish one was to be afraid of loneliness.
-Graham Greene The Heart of the Matter

-Greg Morrissey