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Andre von Morisse

Andre von Morisse was born in Oslo, Norway in 1966 and came to America in 1978. In 1990, he graduated Cum Laude from the Art Center College of Design in Pasadena, California. He moved to New York in 1991 where he started to exhibit his paintings. As a painter, Andre von Morisse has explored many aspects of human psychology and how we interact with the world.

END OF A NEW DAWN

In END OF A NEW DAWN (exhibited in 2005 in Chelsea, New York) he explores questions about the sometimes, uneasy relationship between painting and photography; “reversing the traditional roles of the two mediums by using paintings as the starting point for an elaborate and intricate photographic process.”

Von Morisse invents black & white paintings and then photographs them, enlarging the images so that they take on a soft focus. That seems to undermine the accuracy and truth of photography. Von Morisse makes his selenium toned gelatin silver prints on paper, then mounts them on aluminum. The skill demanded by this labor intensive process demonstrates his interest in both painterly and photographic craft, yet the imagery has a conceptual turn, so both attitudes are integral to the results.

Andre von Morisse

Andre von Morisse was born in Oslo, Norway in 1966 and came to America in 1978. In 1990, he graduated Cum Laude from the Art Center College of Design in Pasadena, California. He moved to New York in 1991 where he started to exhibit his paintings. As a painter, Andre von Morisse has explored many aspects of human psychology and how we interact with the world.

END OF A NEW DAWN

In END OF A NEW DAWN (exhibited in 2005 in Chelsea, New York) he explores questions about the sometimes, uneasy relationship between painting and photography; “reversing the traditional roles of the two mediums by using paintings as the starting point for an elaborate and intricate photographic process.”

Von Morisse invents black & white paintings and then photographs them, enlarging the images so that they take on a soft focus. That seems to undermine the accuracy and truth of photography. Von Morisse makes his selenium toned gelatin silver prints on paper, then mounts them on aluminum. The skill demanded by this labor intensive process demonstrates his interest in both painterly and photographic craft, yet the imagery has a conceptual turn, so both attitudes are integral to the results.

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