In the recent paintings of Jenny Morgan, the artist continues to create penetrating portraits that are both vulnerable and surprising in her choices. The artist’s foundational excellence in realism is enhanced by her subversions of hues and form. Morgan was featured in the cover story for Hi-Fructose Volume 39.
Jenny Morgan’s honed blend of abstraction and realistic portraiture unlocks new paths to the personalities she paints. In a new survey of the past decade of her work, viewers can see how that sensibility evolved—and how she approaches giving the portrait treatment to celebrities, when commissioned by national publications. The Museum of Contemporary Art Denver hosts this exhibition, which runs through Aug. 27. Morgan created the cover for Hi-Fructose Vol. 39, and she was last featured on HiFructose.com here.
The vivid oil paintings of Jenny Morgan capture an honesty about her subjects, drawn in a candid moment in the nude when they are at their most vulnerable. The Brooklyn based artist’s electrifying figurative work, gracing the cover of Hi-Fructose Vol. 39, balances abstraction and realism, combining beautiful design aesthetics with her subject’s unique complexion and emotion. Morgan herself has described her work as “psychological portraits”, focused on presenting the sitter’s psychological state.
Our 39th volume of Hi-Fructose New Contemporary Art Magazine arrives in stores April 1st. You can also reserve a copy by pre-ordering direct from us here! Featured in this issue is: “Very Strange Days, Indeed”, a cover feature with fantastic painter Jenny Morgan, the bright and quiet narratives of painter Andrew Brandou, the painfully dark work of master painter Odd Nerdrum, the playful world of artist Tripper Dungan, R.S. Connett‘s highly detailed “micro verse”, fantastic water color paintings by Dima Rebus, and the powerful tiny street installations of sculptor Isaac Cordal. Plus major features on sculptor Scott Hove inside his teeth-gnashing Cakeland, and Portland painter David Rice‘s wildlife-filled work. Plus a review of Joan Cornellà‘s insanely demented Mox Nox book. This issue also includes a special 16-page preview of the Turn the Page: The First Ten Years of Hi-Fructose exhibition at the Virginia MOCA.
Jenny Morgan’s (HF Vol. 21) latest series is set to debut on May 14th at Driscoll Babcock. “All We Have Is Now” features themes of life, death, and rebirth, represented in paintings of her vibrantly colored figures. It is a continuation of her ongoing concept, centered around the cycle of life and spirituality. Here, this is combined with the morose of death, as in her painting “Skeleton Woman” where a nude mingles with a skeleton. The image could almost be read like a ying-yang, where the weightless pose of the girl is juxtaposed with the heaviness of the skeleton, yet it does not crush her. Overall, Morgan’s art is like a balancing act between polar opposites of both theme and style choices.
Jenny Morgan’s (featured in HF Vol. 21) paintings reveal beauty in simplicity. She often depicts nude figures with poignant expressions, stylizing their bodies to fit her sunrise-hued palette in lieu of focusing on minuscule details like hairs and wrinkles. The simplification of her subjects gives her work a glossed-over effect that pushes it from objective realism into surreal territory. For her latest exhibition “The Golden Hour” at Plus Gallery in Denver, Morgan explored notions of spirituality and the cycle of life. While her major focus has always been faces, often using herself as a subject, her exhibition features a substantial amount of paintings of skulls, alluding to the fading nature of youth and the ephemerality of the body. Take a look at the work in the show below and check out “The Golden Hour” on view through October 18.