Kyle Morland at Blank Projects


Kyle Morland, ‘BANDONKADONK’, circa 2018.  Courtesy of Blank Projects.

Artist Kyle Morland had an exhibition at Blank Projects, his fifth with the gallery and his first at the gallery’s new space. Testament to the artist aesthetic the sculptors are executed in the manner that resemble what is assembled about the functional forms of industrial materials. Morland’s occupation with functional form is evidence of the artist seeking to infuse a measure of functionality to his structures and infuse what is playful in the pragmatism of industrial material. With this exhibition Morland adds a dimension that was missing in his previous exhibitions, that is his works in this exhibition are characterised by a measure of assembly, unlike the unified malleable forms in previous exhibitions. In this exhibition Morland incorporated photography in his work, one of the artistic mediums the artist incorporates when executing his works. The exhibition is about how symbolism functions like connections in industrial forms as pragmatic and suggesting of what is stifled about how they interact with the environment. As assembled and symbolic of unity, creativity and malleability.

The artist met the challenge of space by creating works that have a uniform effect with the space. These are three large white sculptors that occupy the space without imposing on movement on the space. In a curatorial choice that articulated the relationality of the pieces, this way pronouncing their aesthetic impact and discourse. In this exhibition Morland articulates the symbolic operation of his work. In previous exhibitions the works emphasised a decorative or aesthetic function with the intention of expanding how the work operates in the space, and expanding the limitations of space itself.
The three white sculptors in this exhibition are characterised by a playful aspect that borders on the sensual. With titles like ‘Babyface’ and ‘BADONKADONK’, sees an artist who has discerned and made connections with different motif that resemble or echo the manner in which his finished forms have impact. The measure of delicacy the title of the piece ‘Babyface’ brings to mind, also articulates how the arch form of the piece is about movement as self referential than about linear movement. The three white sculptors resembling gutters on modern day buildings, is a statement about linear movement being self referential. For example the piece ‘Babyface’ articulates in a symbolic measure with its rising arch how accumulation in industrial forms is contingent on the forms themselves than an external force. Through the suggestion of sensuality the work is about how what is mechanical is imbued with its own measure of realisation.
This exhibition also communicates in a more pronounced manner the significance of connections in Morland’s work. This not only speaks to the assembled measure the sculptors are executed with, it also speaks to the symbolic function of his sculptors as means to destabilise traditional conceptions of industrial forms. The piece ‘YOU TOUCH ME FUNKY’ is a piece in which the notion of industrial forms is destabilised. Standing vertical with semi circular connecting mechanism, the aspect of movement cannot be discarded rather the artist infuses it with a strategy that suggests uninhibited movement than the austere and rigid forms of a water conveyance system. Morland destabilises what is austere and creates a piece in which movement is imbued with an ambiguous operation and form. The suggestion of sensuality is also about how industrial forms measure of connecting to buildings is a symbiotic strategy for realisation how the pragmatism of gutters for example has an environmental impact.
The three large sculptors are attenuated by smaller size models exhibited in the second space of the gallery. These are made of Meranti maquette wood. Miniture they are statements about execution that demonstrate the final form is pre-determined instead of being natural of given. Since they are reproduction of large works they are not only miniture, they are statements about the environment being subject to manipulation through abstraction. In that the large works suggest how forms in an urban environment connect, they are also about how possibilities are not just contingent on one strategy, there are creative ways in which forms can be connected.
Continuing the easthetic impact of his forms, by actuallly creating works that are circular, Morland also destabilises the traditional execution of a circle. Three mild steel circular pieces with a rectangular centre articulate the sense of creative freedom that industrial forms are organically imbued with. Through the overt cut out from a circular cube inspired the artist to make a statement about the malleability of mild steel. Through the stability of the circular form and the insouciance of the angles he achieved in executing the pieces. The piece titled ‘LB1x2’ with the impact of a traffic light is a piece that suggests how what is auto referential about the piece speaks to the nature of the material used. It also speaks to the limitations of real-world industrial forms being inherently wasteful due to the lack of symbiotic forms and simultaneous function. Morland makes statements about the urban environment through what is hidden in the execution of functional forms.
The realist impact that photography brings to any exhibition is not just documentary or research, in the context of Morland’s work, it also creates the impression of artistic expression in the forms that connect the urban environment. The photograph titled ‘Watercourse conveyance, New York’ speaks to the pragmatic measure with which what is linear functions without recourse to alternative forms. For Morland alternative is artistic, through photography creates debate about permanence and functionality, temporaneity and functionality through an aesthetic that is inherently imbued with longevity.
Morland is not solely an aesthetic artist, nor is he solely an environmental artist, he is a subtle combination of the two, with the freedom to demonstrate how the macrocosm of the urban environment can be discerned in the microcosm of his studio. This is reflected in the photograph titled ‘North east studio wall, corner, Maitland’, an image with a circularcue leaning on the wall included in it. Articulate an exhibition concerned with where it was conceived and the minute details that make up its conception.


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