Future Relics: The Art of Morgan Sorensen
Skeletons, tombstones, and serpents. These are just a few of the iconic images pre-v ailing throughout the works of Morgan Sorensen—all relating to the themes of struggle, sadness, pain, and death. While anyone might agree that these graphic designs would all make for killer band T’s, there’s quite a bit of depth surrounding the artist’s sentiments that goes beyond their pleasing aesthetic. These sheath-like drawings seem to harvest wisdoms from ancient sources, retold through an illustrative style more easily deciphered by modern folk. Each of his harrowing works points to specific concepts of the human condition, emphasized through their pictograph-like visuals, and made conspicuous through titles like “Subjugation” and “Betrayal.” These usually comprise only two or three tones of color, allowing for their stark meanings to loom forth.
So, why the heavy heart? Sorenson bluntly confesses, “I believe humans are a tortured species. Some people more than others, but we are all battling something, there is no avoiding this fact. It is simply the nature of our existence to struggle and carry burden. In my work I want to acknowledge this fact, this aspect of the human condition. We are all Sisyphus.” For makers and appreciators alike, art in deed helps to free us from our inner prisons. We get to confront the horrors of existence through the transformative power of beauti-fully ordered imagery. In a strange way, Sorenson’s art does somehow possess an up-lifting effect, as if a veil has been lifted, and the viewer can release the pressure of false stoicism.
He expands upon this notion, saying, “The work acts to embrace the tortured nature and to celebrate it. In some ways I am looking toward myself and struggles with mental health. Creating these pieces has been therapeutic, like journaling out words but in visual form. Once it is out, it is easier to analyze and accept.” And while life might often feel (as in the case of Sisyphus) like the eternal burden of rolling heavy rocks uphill, Sorenson does address some more optimistic notes within his work. “Not everything is a bummer… I do draw birds in flight. These birds are the contrast to the heaviness.
It may be cliché, but they are symbols of lightness, escape, and free-dom. They are the soul escaped.” Nonetheless, the macabre is something that has infiltrated Sorenson’s mind and hence, his drawings since childhood. The major theme to remain consistent in his ultra symbolic work is the concept of impending death. This is expressed through human characters-turned-skeleton, depicted in various existential scenarios, and seemingly bear-ing the brunt, in a metaphorical sense, for us mortal souls.
I BELIEVE HUMANS ARE A TORTURED SPECIES. SOME PEOPLE MORE THAN OTHERS, BUT WE ARE ALL BATTLING SOMETHING, THERE IS NO AVOIDING THIS FACT.”
“It seems as humans we have this obsession with death, it is usually this uncomfortable void that we cannot explain, we are cursed with the knowledge of our mortality—we are conscious of it. Those that try and explain it construct religions and religious narratives around it, all in attempt to arrogantly explain the unexplainable,” he says. In a sense, his expressions are a way of impelling us to confront this futile fear of the unknown, and avoidance of death related dis-comfort in general.
“Humans in my work are shown skeletal to reflect mortality. These humans are shown worshipping death, struggling, in pain, et cetera,” he adds. On close viewing of his design work, it’s apparent that the gothic imagery of gravestone rub-bings have made an impact. The technique of transferring images from deteriorating gravestones onto paper has served as an alternative form of documentation, yielding simplistic lines and patterns that impart near-forgotten accounts of the deceased. His own works seem to pick up where those narratives leave off, into the philosophical nature of morbidity itself.
Asked about other prominent, visual elements that have influenced his work, he revealed that it’s “a mashup of things. Art Deco and Nouveau has an influence in my work—artists like Aubrey Beardsley for example. The heavy and intimidating forms of Brutalist architecture play a role as well. Punk has been a staple in my life and the textures found on Xeroxed DIY show flyers and paste-ups are influential, and also speak to my limited color palette. Sprinkle a little Giger and Beksinski on top and you have the basic stew of my creative influence, among other things.”
NOT EVERYTHING IS A BUMMER… I DO DRAW BIRDS IN FLIGHT. THESE BIRDS ARE THE CONTRAST TO THE HEAVINESS.”
HUMANS IN MY WORK ARE SHOWN SKELETAL TO REFLECT MORTALITY. THESE HUMANS ARE SHOWN WORSHIPPING DEATH, STRUGGLING, IN PAIN…”
On the whole, the source material for his ideas and concepts stems from his own internal pondering, with research on history, religion, and myth playing but a peripheral role in his de-velopmental process. And while the end result of his depictions is digital in form, the majority of the creativity unfolds with good ol’ pencil and sketchpad. He first begins by sketching out solid forms and simplistic shapes, which are then elaborated upon with intricate lines to reveal the subject matter—the flesh and bones, if you will—on the inside.
“I really enjoy this sketching phase because it is a flow state with little pressure for the sketch to be anything amazing. It’s kinda like how we have all been doodling while talking on the phone, and after the conversation ends you look down to see what you created while your mind was somewhere else,” he shares. After the rough sketch stage, he brings the image to the computer screen to further refine and problem solve, until it pos-sesses a clean aesthetic with distinct concept intact. However, Sorenson does prefer retaining some amount of the stylized look of his original sketches, therefore proportions are often exaggerated, giving them a more dramatic look, which can’t be extracted from digital reference. “I finish my art with texture because digital vector art can feel a little soulless, it needs hu-man hand, it needs the inaccurate and the organic,” he adds.
Looking ahead, Sorenson will be continuing his craft, but through different angles. Aside from some intriguing, near-future collaborations with metal bands, including a custom, large-scale backdrop, he plans on expanding his work into a thus far unexplored realm: painting. This is indeed an exciting prospect for the artist, as his work will undoubtedly translate well at a large scale. “I know painting will be a huge learning curve, but I really want to work with my hands more outside of using a pencil and then the computer,” he says. It seems that this is only the natural next step for an artist that has no qualms in confronting the unknown.*
This article originally appeared in Hi-Fructose Issue 66, which is sold out. Get our latest issue in print here.
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