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    <loc>https://www.morrisfox.net/work</loc>
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    <lastmod>2023-01-22</lastmod>
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      <image:title>Death &amp; Praxes - Chainmaille: Wall</image:title>
      <image:caption>a glory hole filled membrane, a web, a protective sleeve</image:caption>
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      <image:title>Death &amp; Praxes - Chainmaille: Wall</image:title>
      <image:caption>Chainmaille is a protective tapestry, a skin, a weaving together of the anachronistic past with traces of the future</image:caption>
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      <image:title>Death &amp; Praxes - Chainlink as Ampersand</image:title>
      <image:caption>I want to ampersand the butch with the gothic; both present blank identities whilst being detectable, throughother identities that encode non-codes—auto-fictions that simultaneously empty-out selfhood &amp; sublimate its blank double to veils of performativity. The butch fantasy, a drag of virile masculinity, counterpoints the fragility of the gothic character, whose shroud is a stand-in for marked flesh, and whose identity is revealed through the porphyry colour staining the curtains.</image:caption>
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      <image:title>Death &amp; Praxes - Glamr XOXO</image:title>
      <image:caption>2019 A poetic self-fashioning performance video I produced in Iceland meditates on the undeath and destruction of Glamr, a revenant from Grettir’s Saga, whose haunting of the living I reenacted through a slow motion dance video, that asked what is a stranger? Who is the stranger in and to ourselves? Why does the stranger come back to haunt ourselves?</image:caption>
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      <image:title>Death &amp; Praxes - Quarental</image:title>
      <image:caption>2018</image:caption>
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      <image:title>Death &amp; Praxes</image:title>
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      <image:title>Death &amp; Praxes - Glamr XOXO</image:title>
      <image:caption>2019</image:caption>
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      <image:title>Death &amp; Praxes</image:title>
      <image:caption>Gregory Woods’ A History of Gay Literature,</image:caption>
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      <image:title>Death &amp; Praxes - Ossuarussia</image:title>
      <image:caption>2018</image:caption>
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      <image:title>Death &amp; Praxes - Soft Goth Ampersand</image:title>
      <image:caption>2016</image:caption>
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      <image:title>Death &amp; Praxes - Smile of the Cat &amp; Fox</image:title>
      <image:caption>2017</image:caption>
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      <image:title>Death &amp; Praxes -  Dracula</image:title>
      <image:caption>Apophrades, a process of negation; I inter with the dead and through some dark communion I seek to slay what’s already dead, apophatic, like moth larvae devouring the wool off the dead letter’s sound, it returns to some decrepit ruin, some decreased pit, a dank mouthful of andness and the silent violence of the slashed ligature, &amp;, the delimited site e.g. Castle Dracula.</image:caption>
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      <image:title>Death &amp; Praxes - Ones and Noughts</image:title>
      <image:caption>I wonder how to integrate fabrics with acoustic compositions? To see how encoded poetry translates into textile patterns, or to reverse that process to use weaving as a model for sound fabrication. How would that work manifest in real and virtual space? I see these questions framed within forensic aesthetics, the elegiac, within queer fragMOREtation* and ecology, engaging materiality and translation not only from a field of vision, but also a field of emotion and responsiveness. *”FragMOREtation is an attempt to catch the eye — not by being big or flashy, but by being broken-off, hidden, and/or decontextualized.” —K-Hole Issue #1</image:caption>
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      <image:title>Death &amp; Praxes - Gothic Voices</image:title>
      <image:caption>…in a sort of tightrope dance we play along the wire between the legible work (object) and the erasure of ourselves and what we create. What would happen if I could take certain strategies of covert action—the surrealist shot in the dark,”In a dark room, eyes wide open”; processes of redaction where a shadow falls over the subject, and the reproduction leaves only this shadow, not the subject itself; or even further the imagined death sentence —that last utterance falling heavily—as tools to counter disintegration? The voice of the stand-in, this covered subject speaks of its loss &amp; gain, from out of its obliteration or abyss, from death into breath—mediumicity.</image:caption>
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      <image:caption>Trøllkunst Performance, Calgary</image:caption>
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      <image:title>Death &amp; Praxes - S O S</image:title>
      <image:caption>I’ve embedded the Morse signal “SOS”, a common long distance distress sequence, signalling imminent catastrophe or distress (save our souls/save our souls most urgently!) with other sequences of morse-code translated poetry to create sonic tapestries. This interweaving of resonances aligns with my current material research through strategies of elegy and queer coding, in order to use auratures of feeling in place of words. I see this as a parallel poetic to the adaptive signal of S.O.S. where you can interpret the urgency of code in a multiplicity of ways such as save our shores/ send our succour/ spit or swallow/ save our spaces—a queering of tongues.</image:caption>
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      <image:caption>Trøllkunst Performance x Crystalline, Motherbox Gallery, Brooklyn</image:caption>
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      <image:caption>Interweaving the gothic and queer forces me to confront research and practice asynchronously, not only to stitch together the work as I produce, but also stitching together over time and social space, and looking at the potentiality for processes to either be accessed, revived, archived, or deleted, written off, dusted.</image:caption>
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      <image:caption>I seek out an array of funereal objects—shrouds repeated in devoré velvet, handwoven flags, chainmail veils imbedded with coded language. These textiles recall both traditional craft methodologies of funeral rituals while referencing digital memorial practices. Along with semaphoric movements, videos, translations and self-dance compiles and de-files an accretion of signals.</image:caption>
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      <image:title>Death &amp; Praxes - Encoded Textiles</image:title>
      <image:caption>I code switch between discreet soundscapes of poetry &amp; code-patterns of weavings, trans-translating to corrupt and create new meanings, as well as working through the more recognizable “SOS” Morse-signal. I see these works and my practice thematically linked to a framework of craft methods, queer amateurship and material studies through a gothic poetics of disidentification, a seesaw between final revelations and what is occulted.</image:caption>
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      <image:title>Death &amp; Praxes - Inferno 2020</image:title>
      <image:caption>Hotwheelz Festival: Gothwerk</image:caption>
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      <image:title>Temporary Memorial - Temporary Memorial - Temporary Memorial</image:title>
      <image:caption>A place to leave mementos for that which is lost</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5dfbff990bdfe95951e81deb/fb82c108-0df8-459d-84d4-4acba7123de5/Timber+Cruise+Hanlans+2025+27.png</image:loc>
      <image:title>Prosopographie - PhD Concordia U</image:title>
      <image:caption>In 2022 I started a PhD in Montréal/Tiohtià:ke in the Interdisciplinary Humanities program at Concordia University. I explore how queer gothic sensibilities make sense of ecological grief, memory, and queer dwelling across physical and virtual landscapes. My project traces affective, aesthetic, and political practices emerging from two historically queer green spaces—Parc Mont Royal in Montréal and Hanlan’s Point Beach on Toronto Islands/Mnisiing. Through methods of crypting, cruising, collage, and conjuring, I examine how the queer gothic “camps” up the fiction of Canada’s haunted wilderness, and how queer ecologies and material cultures can be felt as mourning and imaginative survival.</image:caption>
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      <image:title>Prosopographie - MFA Thesis Show</image:title>
      <image:caption>The 2018 SAIC Low Residency MFA Exhibition at the Sullivan Galleries showcased twenty-seven artists united by a spirit of fearless vulnerability and interdisciplinary inquiry. Installed with ample space to invite contemplation, the show brought together works spanning performance, sculpture, video, textiles, and multimedia installations. Among these, Morris Fox’s Quarental stood out: a black velvet devoré garment rotating in the space, accompanied by video documentation of a grief ritual performed on Gibraltar Point Beach at Toronto Island. The piece embodied the exhibition’s ethos of emotional risk and poetic materiality, holding space for loss, memory, and queer haunting within the broader constellation of works.</image:caption>
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      <image:title>Prosopographie - Archive of Feeling</image:title>
      <image:caption>Chandler Street Gallery (Fall 2019)</image:caption>
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      <image:title>Prosopographie - Making Out</image:title>
      <image:caption>SITE Gallery, Chicago, (Summer 2017) MAKING OUT turned the SITE gallery into a space of playful resistance. The work centred around a large bleachers installation, suggesting a high school football field — the kind of bleachers that provides a refuge for clandestine kissing. MAKING OUT fostered radical imagination by constructing a particular, touchable, sometimes functional site for envisioning tenderness. This show is a collaboration by a group of artists known as HIVE: Maggie Wong, Nancy Murphy-Spicer, Morris Fox, Morgan Green, Brendan Getz, and C Alex Clark.</image:caption>
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      <image:title>Prosopographie - PROSOPOGRAPHIE</image:title>
      <image:caption>Biography (2011-Current) My prosopography takes the form of a short collection of descriptive texts from my art career.</image:caption>
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      <image:title>Prosopographie - Representation Matters</image:title>
      <image:caption>Main Street Museum, VT (Fall 2016)</image:caption>
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      <image:title>Prosopographie - EXPLORING THE NECROPASTORAL</image:title>
      <image:caption>Pith Studios (Fall 2015) I used the opportunity of a non-curated studio as an artist’s retreat in Calgary to produce a body of work as a form of creative research. I sourced material from wrecks of cargo trucks on Alberta mountain highways, burnt logs collected from forest fire sites in British Columbia, and I used medical supplies, and included olfactory components as well as sound to create an immersive sensory atmosphere, more séance than installation or gallery show. I could completely transform the gallery space, which was slated to be torn down and replaced with a soulless condo bloc. The gallery had functioned as cheap studio space for emerging artists for a number of years, an integral part of Calgary’s pop-up/DIY scene. As my project the last one housed in this gallery, and my show was its swan song, it was particularly fitting given the thematic content of my work—the Necropastoral.</image:caption>
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      <image:title>Prosopographie - TROLLKUNST</image:title>
      <image:caption>multi-site performance practice (December 2014-2018) A noise-based experimental music project, Trollkunst plays on notions of the collective/hybrid identity, forming uncomfortable interactions with its viewing public--something brutish or ugly that forms connectivity, both live and virtually. Forming this hyperidentity is a type of strategy that reflects poorly on knowledge gained in art school. Part troll-doll, part angry troller of the internet, part wounded animal, in my role as troll, I create temporary structures, soundscapes, video, light projections, in ritualistic performances as well as in documentation/still imagery and a mound of detritus.</image:caption>
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      <image:title>Prosopographie - FOXHOLE</image:title>
      <image:caption>WreckCity (March-April 2013) In the spring of 2013, a collective of Calgarian curators, all associated with the alternative Calgary art scene, persuaded developers to allow them to have free reign over a city block of tract houses slated for demolition. As one of some hundred artists, I took over a semi-basement space and created an entrance via a narrow ladder from the floor above. The entrance suggested a foxhole, complete with sandbags, while the room below was transformed into a den, part goth teenager, part drug den, part séance space, filled with fluorescent-painted artifacts, which I re-purposed from the abandoned items left in the houses.</image:caption>
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      <image:title>Prosopographie - SUPRAVIOLET EMANATIONS</image:title>
      <image:caption>The Fountain Gallery (September 2012) In researching colour theory, I was intrigued by the difficulty presented to digital sensors in seeing, rendering, and processing purples, specifically non-photogenic violet and blue. There is a processional or ceremonial ordering to the paintings, the composition flowing between each of the series if they are juxtaposed correctly. Violet is an elusive colour to produce, both in its manufacturing as well as in renderings. This series highlighted its agitative property and also the difficulty in reproducing faithfully the paintings in digital format.</image:caption>
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      <image:title>Prosopographie - GHOSTHOLE</image:title>
      <image:caption>From 2011 to 2014, I was a recurring artist and collaborator in Ghost Hole, a one-night Halloween performance and art event created by Vanessa Rieger, staged in unconventional venues. I participated in four editions in roles ranging from artist to facilitator, assistant curator, and bartender. During Ghost Hole IV and V at Gibraltar Point Artist Centre—a former Toronto Islands schoolhouse—I created two installations. Psychomanteum (2012) was an apparition booth modeled after oracular chambers and Victorian spiritualism, using mirrors, darkness, and low sound to induce a Ganzfeld effect. In 2013, Phantom Lights transformed a black chamber outlined in light, fog, and sound into a performative threshold where viewers disappeared into darkness while onlookers were theatrically illuminated, unsettling the boundary between perception and hallucination. https://ghosthole4.wordpress.com/about/res-artist-morris-fox/</image:caption>
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      <image:title>Prosopographie - ROUNDTABLE RESIDENCY</image:title>
      <image:caption>Dragon Academy (Summer 2013-20) I co-founded an experimental emerging artists’ studio residency in 2013, The Roundtable Residency. The primary goal of the residency is to assist artists in the development of their practice, and to facilitate collaborations among artists and other practitioners with disparate methodologies and experiences. To this end the residency provides workspace at no cost; critiques and constructive feedback from members of the arts community in Toronto; workshops and other skill/community-building events; and unique peer-to-peer mentorship opportunities.</image:caption>
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      <image:title>Prosopographie - So Goth, So Gone</image:title>
      <image:caption>In the Fold, Group Show, Throop Studio, Chicago, (Summer 2017)</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5dfbff990bdfe95951e81deb/1601333425485-R1SAV06DFWBQNJATG0QY/image-asset.jpeg</image:loc>
      <image:title>Prosopographie - Clubhouse</image:title>
      <image:caption>Don Blanche (August 2013) Don Miller and Christine Swintak have created a notable artists’ retreat at Don’s rural Ontario property where artists are given a safe haven outside the city where cross-disciplinary experimentation and differences are celebrated. Along with some thirty-six other artists, I shared communal meals, did heavy lifting (helping to move a barn), and art talk. I hosted a radio show, and along with two other artists created a club house in the back woods, where I led a high ceremonial magic initiation ritual for the community. I kept a field journal with notes, sketches and thoughts.</image:caption>
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      <image:title>Prosopographie - EMERALD CITY</image:title>
      <image:caption>GALLERY 809 (MARCH 2012) During a three-week residency in Calgary at EIGHTONINE gallery, I hand-crafted a limited run of custom 3D glasses corresponding to panels done in red and green, playing with colour theory and optics. These paintings floated above the picture plane, the 3D effect blending flat land with our own visual acuity. The show created a fictional fascist state “Emerald City” drawing imagery from archival youth brigades, where I dictated the lens of viewership, blurring the line between idyllic and authoritative.</image:caption>
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      <image:title>Prosopographie - Residencies: Iceland</image:title>
      <image:caption>Icelandic Textile Centre, Blondous and Nes, Skagastrond (April-June 2019)</image:caption>
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      <image:title>Prosopographie - Gothwerk</image:title>
      <image:caption>Hot Wheelz Festival (Fall 2020) “Gothwerk is a project that lives in a cultural and environmental moment of reckoning. The artists involved share practices with an affinity towards the existential and straight-up goth orientation with a libratory flare. I am invested in questioning what constitutes belonging based on the identification of affinity or love in my work. So what does it feel like to have a relationship with ghosts, deep time, or the new wave of baroque goth clubs, virtual realities, latex, and lace? “—Maggie Wong</image:caption>
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      <image:title>Prosopographie - MFA Low Residency</image:title>
      <image:caption>SAIC, Chicago, (2016-2018)</image:caption>
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      <image:title>Prosopographie - SHIT+TALK</image:title>
      <image:caption>Long Winter TO (March 2015) For Long Winter, a recurring interarts festival at The Great Hall, a reclaimed Victorian performance venue, Lucy Satzewich first peppered the women’s washroom with paper, inviting the public to scrawl bathroom messages. She then invited artists to respond to particular messages as they desired. I created a four foot by ten foot word art banner “RUNAWAY GOTH” in a transmogrified political street style, which was included in the group show.</image:caption>
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      <image:title>Prosopographie - ABC MYTHOLOGIES</image:title>
      <image:caption>Gallery 345 (December 2011) My first solo show after completing my BFA, building on my undergraduate thesis, ABC Mythologies reimagines Classical stories, heroes and gods as contemporary alienated young artists. A series of twenty-four paintings (corresponding to the letters of the Greek alphabet), including a monumental folding screen which displayed Xanthus and Patroclus on alternate panels, was exhibited with companion sculptures, such as for Jason and the Dragon Tooth Warriors where I hand silkscreened a hundred t-shirts with “Dragon Teeth Boys”, that were distributed to the visitors.</image:caption>
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      <image:title>Prosopographie - PALE BLUE</image:title>
      <image:caption>Milk Glass Co. (Summer 2015) As part of a three pronged curation mounted at Milk Glass Co., Jimmy Cahill, the curator, launched the publication “Pale Blue” including written and visual content, as well as a corresponding “mixtape”; for the launch, they created an exhibition that invited the artists to create works and performances relating to the theme of Cosmos. The publication included a spread of my work as redacted confidential files containing twelve poems in the format of popular daily astrology horoscopes; I created a spacey sound piece for the mixtape; I performed in the role of Alien Astrologer, provocatively predicting audience members’ futures.</image:caption>
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      <image:title>Prosopographie - Textile Intern</image:title>
      <image:caption>Icelandic Textile Centre, Blondous (March-May 2020) “…what best reveals [plastic] for what it is is the sound it gives, at once hollow and flat; its noise is its undoing, as are its colours, for it seems capable of retaining only the most chemical-looking ones. Of yellow, red and green, it keeps only the aggressive quality, and uses them as mere names, being able to display only concepts of colours.” —Roland Barthes, Mythologies</image:caption>
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      <image:title>Prosopographie - HOMER’S ODYSSEY</image:title>
      <image:caption>Videofag (September 2014) For “Homer’s Odyssey, A Simpson Show” curated by Jimmy Cahill at Videofag, I created a limited edition set of thirteen distinct, tradeable playing cards, which the public was invited to trade, as each set contained a random duplication. The theme of the exhibition was the iconic cartoon show, “The Simpsons”. The images on these cards played transgressively with the characters and affectual lives. Along with the curator, I was also interviewed by Xtra! Magazine, a Queer-focused publication.</image:caption>
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      <image:title>Prosopographie - Velvet Fields</image:title>
      <image:caption>Marin Gallery, Waterloo Iowa (Spring 2019)</image:caption>
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  </url>
  <url>
    <loc>https://www.morrisfox.net/statement</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2020-09-28</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5dfbff990bdfe95951e81deb/1601269274607-NWNM69R4ZEVXVQ5BL4KL/IMG_6023.jpeg</image:loc>
      <image:title>Statement</image:title>
      <image:caption>Morris Fox's practice encounters itself between research, writing and materials. Percipients to his work feel a sense of elegy conveyed through an interchange of the work and themselves. Born in 1984, Morris Fox grew up in Tkaronto, where he flourished and withered and participated at the AGO Teens Behind the Scenes program, as well as volunteered at the Textile Museum of Canada. He pursued a rocky-road undergraduate degree in Tiohtià:ke at Concordia University (graduated 2010), Fox was introduced to intermedia theories and political-aesthetics as well as having his preconceived notions of practice shattered. Fox' poetics imbricates poetry within an expansion of textiles, performance and video works throughout their spatial and olfactory dimensions. Having encountered Joyelle McSweeney’s “The Necropastoral: Poetry, Media, Occults” while on a date, led Morris to a research investigation into the instability of meaning, media and mankind’s deprivations of nature that formed the core pursuit of his MFA at SAIC (graduated 2018). Fox has participated in residencies and shows pursuant to these investigations.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://www.morrisfox.net/new-page-1</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2025-09-30</lastmod>
  </url>
</urlset>

