July 3 - August 1, 2026
It is best to let yourself slowly wander through the gallery once, then circle back and walk through again, even more slowly. As the viewer engages with them in physical space, these painted sculptures radiate a sensation of aliveness, a persistent “beingness.” Walking among the columns (ranging from 6 to 10 feet tall) in particular, almost feels like moving through a group of people, or through a forest of tall trees. Move close. Look closer. They seem almost to be speaking to you.
The language of Pard Morrison’s painted sculptures, whether the columns, cubes, or the stacked box wall piece included in this exhibition, is a complex interplay of minimal elements. There is the architectural nature of these 3/16” plate aluminum pieces, precisely cut and welded into geometric volumes. There is the juxtaposition of this industrial fabrication with the fact that, as the viewer notices on close inspection - the myriad colors of industrial Flouronar paint across the surface have been applied by hand. The marks of Morrison’s brushwork remain visible, belying that veneer of industrial “perfection” that they may seem to have from a distance. The colors themselves are painted across the surfaces as if the sculpture was a canvas in elaborate patterns of shapes and bands and puzzle pieces.
It is this interweave of pattern and color - the groupings, rhythms, contrasts and emotional freight of the colors themselves that seem to form the most complex aspects of Morrison’s sculptural language. Morrison has spoken about color as providing a form of “emotional architecture” within his works. His sense of the emotional and psychological, as well as the aesthetic qualities of color is utilized to create dialogue and movement across the planes of these surfaces.
For example, the interlocking diamonds and triangles of the 6 ft. column draw the eye upward, while the alternating of brighter and more saturated colors with softer, lighter hues creates a rhythm for the eye of movements and pauses. Meanwhile the cube utilizes irregular and overlapping shapes, and the appearance of a thin black bar and small orange rectangle seem
almost like notations, or punctuation, against the larger pale gray-blue shapes of the piece. Added to all of this is that changes in the light and atmosphere, of the angle at which the viewer is approaching the piece, will cause shifts in the colors, softening, deepening, altering the way they interact with each other.
Each of these aspects of the work can be taken in turn: the traces of Morrison’s “imperfect” mark making, the human-sized volumes of the pieces, the chance of light and season, the patterning, geometries, puzzle-like weaving, the emotionality, movement, and energy created by the colors. But the magic truly happens when the viewer begins to take in the relationships between all these disparate aspects, to see the whole.
Not surprisingly, Morrison has an affinity for the work of the nature poet Mary Oliver. He says that one particular quote has stayed with him for years, “Attention is the beginning of devotion.” It is an apt quote. Life is at root an interplay between order (structure, repetition, reproducible rules and laws of biology and physics) and chaos (the genetic slip, the missed connection, the butterfly flapping its wings). What minimalism does so well, what Morrison is offering with his work, is to strip out the extraneous, leaving behind a composition that provides a more accessible entry point for humans to slow down and practice attention. To see. To see how infinitely complex even one tiny space, one piece of art, can be. The relationships ripple out from there.
Everlove offers the viewer a chance to slow down. To see differently. To begin to learn a language made of color and shape, of space and light. To feel the significance of the human hand amid a world of tech and noise. As Morrison says: “I believe that mark making is a form of prayer. My work is an accumulation of prayers.”
- Michaela Kahn, PhD
The Good That
Marmalade, 2026
Fluoronar on welded aluminum
20 x 20 x 20 in.
PMOR197
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Bolide, 2026
Fluoronar on welded aluminum
40 x 96 x 6.25 in.
PMOR199
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Druzy, 2026
Fluoronar on welded aluminum
72 x 12 x 12 in.
PMOR198
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Planet Gatherer, 2026
Fluoronar on welded aluminum
96 x 13.5 x 13.5 in.
PMOR194
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$9,000
$34,000
Sanguine, 2026
Fluoronar on welded aluminum
94 x 13.5 x 13.5 in.
PMOR195
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$20,000
Everlove, 2026
Fluoronar on welded aluminum
120 x 30 x 10 in. each
PMOR193
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$24,000
All The Good That Is, 2026
Fluoronar on welded aluminum
20 x 20 x 20 in.
PMOR191
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Double Bar Set, 2024
fired pigment on aluminum
8 x 10 x 1.625 in.
PMOR171
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$24,000
$135,000
$9,000
$2,400
Born: 1975 in Colorado Springs, CO
Education:
BFA, Sculpture, Colorado State University, Fort Collins, CO
Selected Solo Exhibitions:
2027 May, Buffalo and Erie County Botanical Gardens in conjunction with the Buffalo AKG Museum, Buffalo, New York
2026 Everlove, Charlotte Jackson Fine Art, Santa Fe, NM
2026 Chromatecture, Gardens on Spring Creek, Fort Collins, CO
2025 Interstice, Robischon Gallery, Denver, CO
2024 Everywhere You Go Love, Robischon Gallery, Denver, CO
Metal Mash-Up, Charlotte Jackson Fine Art, Santa Fe, NM
2022 Something to Become, Arthur Roger Gallery, New Orleans, LA
The Forest, Charlotte Jackson Fine Art, Santa Fe, NM
2021 Bloom, Brian Gross Fine Art, San Francisco, CA
2019 Warp & Weft, Charlotte Jackson Fine Art, Santa Fe, NM
2018 Heliotrope, Brian Gross Fine Art, San Francisco, CA
In Fields, Arthur Roger Gallery, New Orleans, LA
2016 Inde/Jacobs, New Work, Marfa, TX
2015 Spontaneous Order, Brian Gross Fine Art, San Francisco, CA
Hypnagogia, RULE Gallery, Denver, CO
2014 Some Ghost, James Kelly Contemporary, Santa Fe, NM
Language of Man, Galerie Knoerle & Baettig, Winterthur, Switzerland
2013 Chromaccumulations, Arthur Roger Gallery, New Orleans, LA
2012 Supercollider, Marty Walker Gallery, Dallas, TX
Phantom Limbs, James Kelly Contemporary, San Fe, NM
Recent Works, Brian Gross Fine Art, San Francisco, CA
2010 At The Edge Of The World, RULE Modern and Contemporary, Denver, CO
Recent Work, Brian Gross Fine Art at One Post Street, San Francisco, CA
2008 Ghost Call Love, Marty Walker Gallery, Dallas, TX
Candyland, Arthur Roger Gallery, New Orleans, LA
2007 50 Ways To Fall In Love, RULE Modern and Contemporary, Denver, CO
Peripheral, LewAllen Contemporary, Santa Fe, NM
2006 Pick Up, Arthur Roger Gallery, New Orleans, LA
2005 Huminimalism, University of Wyoming Art Museum, Laramie, WY
2004 Hybrids, Arthur Roger Gallery, New Orleans, LA
Surface and Structure, LewAllen Contemporary, Santa Fe, NM
2004 New Paintings and Sculpture, RULE Modern and Contemporary, Denver, CO
1997 Pilgrimage to Mnemosyne, Colorado State University, Fort Collins
Recent Group Exhibitions:
2026 Mapping Spaces: Selections from The Lannan Collection at NMSU, New Mexico State University, Las Cruces, NM
2025 Duologies, Robischon Gallery, Denver, CO
Summer Crush, Charlotte Jackson Fine Art, Santa Fe, NM
2024 Back to Basics, selections from The Weisman Art Foundation Permanent Collection, Ronald H Silverman Gallery, California State University, Los Angeles, CA
2023 45th, Arthur Roger Gallery, New Orleans, LA
Winter Group Show, Charlotte Jackson Fine Art, Santa Fe, NM
2022 GESTURE/COLOR/FORM, Brian Gross Fine Art, San Francisco, CA
2021 Metal Mash Up, Charlotte Jackson Fine Art, Santa Fe, NM
Summer Camp, Charlotte Jackson Fine Art, Santa Fe, NM
2020 Off Set, Galerie Robertson Ares, Montreal, Quebec
Home for the Holidays, Charlotte Jackson Fine Art, Santa Fe, NM
Art In the Time of Empathy, Arthur Roger gallery, New Orleans, LA
Summer Group Exhibition, Charlotte Jackson Fine Art, Santa Fe, NM
30th Anniversary Exhibition, Brian Gross Fine Art, San Francisco, CA
Channeling the Baroque, Charlotte Jackson Fine Art, Santa Fe, NM
2019 Harmonies in Color, Louisiana Art and Science Museum, Baton Rouge, LA
Colorado Abstract, Arvada Center for the Arts, Denver, CO
All That Matters, Charlotte Jackson Fine Art, Santa Fe, NM
Celebrating 30 Years, Part 1, Charlotte Jackson Fine Art, Santa Fe, NM
2018 Holiday Odyssey, Charlotte Jackson Fine Art, Santa Fe, NM
Color Bites, Charlotte Jackson Fine Art, Santa Fe, NM
Star Gazing, Charlotte Jackson Fine Art, Santa Fe, NM
2017 Joyful, Charlotte Jackson Fine Art, Santa Fe, NM
Power Play, Charlotte Jackson Fine Art, Santa Fe, NM
Wish You Were Here, Charlotte Jackson Fine Art, Santa Fe, NM
True To Form, Charlotte Jackson Fine Art, Santa Fe, NM
Heavy Metal: Pard Morrison, Elliot Norquist, & Jeremy Thomas, Charlotte Jackson Fine Art, Santa Fe, NM
2016 The Last Picture Show, James Kelly Contemporary, Santa Fe, NM (INFRA) STRUCTURE: complex, below, and further on, Lannan Foundation, Santa Fe, NM
Dallas Art Fair, James Kelly Contemporary, Dallas, TX
2015 Small Works, James Kelly Contemporary, Santa Fe, NM
Grand Opening, Inde/Jacobs, Marfa, TX
2014 Scope Basel, Galerie Knoerle & Baettig, Winterthur, Switzerland
Celebrating American Artists, Collectors Contemporary Editions, Singapore
Inaugural Show New Space, RULE Gallery, Denver, CO
outLINE, James Brooks Fine Art, Coast Mesa, CA
James Kelly Contemporary, Santa Fe, NM
2013 Confluence, ArtSpace @ Helutrans, SGAS, Singapore
AGAIN, Repetition, Obsession, and Meditation in the Lannan Collection, The Lannan Foundation, Santa Fe, NM Catalyst, Denver Botanical Gardens, Denver, CO
Selected Collections:
Colorado Springs Fine Art Center Permanent Collection
Colorado State University Art Museum
Columbus State University
Fidelity Investments
New Iberia Bank, Lafayette, LA
New Mexico State University
Northern Colorado Aids Project
Phoenix Art Museum
Saks Fifth Avenue
The American Embassy, The Hague, Netherlands
The Armour Foundation
The City of Colorado Springs, CO
The City of Denver, CO
The City of Redwood City, CA
The City of Vail, CO
The Frederick R Weisman Art Foundation
The Lannan Foundation
The United States Embassy, The Hague,Netherlands
The University of Wyoming Art Museum
The Venetian, Capetown, South Africa
The Venetian, Las Vegas, NV
Tulane University
University of Wyoming Art Museum
Wells Fargo
