F.L.E.S.H

Fear did not come first. Beauty did.

F.L.E.S.H. is an ongoing body of work concerned with the structures we build around experiences we cannot fully explain.

It considers perception, identity, memory, belief, and the uncertain boundary between what is experienced and what can be understood.

Not everything requires resolution. Some things remain.

FALSE LIGHT.
ENDURANCE.
STEALTH HARM.

Three things.
There had always been three.

The work begins with fragments.

Images are built, damaged, buried, and returned to. Marks accumulate. Forms disappear beneath other forms. What remains visible is only part of what was there.

Nothing is erased completely.

F.L.E.S.H. exists somewhere inside that accumulation—between memory and invention, beauty and damage, the thing itself and what it becomes after we have lived with it long enough.

MICHAEL MORIN

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F.L.E.S.H

Fear did not come first. Beauty did.

FALSE LIGHT.
ENDURANCE.
STEALTH HARM.

Three things.
There had always been three.

The work begins with fragments.

F.L.E.S.H. exists somewhere inside that accumulation—between memory and invention, beauty and damage, the thing itself and what it becomes after we have lived with it long enough.

F.L.E.S.H

Fear did not come first. Beauty did.

FALSE LIGHT. ENDURANCE. STEALTH HARM.

Three things. There had always been three.

The work begins with fragments.

F.L.E.S.H. exists somewhere inside that accumulation—between memory and invention, beauty and damage, the thing itself and what it becomes after we have lived with it long enough.

FALSE LIGHT.
ENDURANCE.
STEALTH HARM.

Three things.
There had always been three.