Installation
Drawing, color pencil (text) on paper, 129 x 155 cm
12 drawings (texts), pencil, India ink and water color
on paper, 38 x 57 cm each
1 wooden board, 45 x 27 x 4 cm, 2 leather tapes, 150 cm each
4 stumps: 3 original, partially overworked with acrylic paint,
93.5 x 30 Ø cm, 93 x 23 Ø cm, 27 x 37.5 Ø cm
1 added 2008, 32 x 40 Ø cm
44 logs of wood, acrylic paint, completely painted over,
36 pieces 19.5 x 4.2 x 1.7 cm each,
8 logs of wood, completely painted over, 19.5 x 4.2 x 1.7 cm each
thereof 5 pieces, acrylic paint, only the front side and edges
painted over (probably added 1980)
Painting, acrylic paint on canvas, 155 x 299 cm,
Painting, acrylic paint, chalk on paper, 155 x 300 cm,
Floor drawing, chalk
Wooden slats in different lengths:
152.5 x 4 x 4 cm (2), 142 x 4 x 4 cm (1), 76.5 x 4 x 4 cm (1),
46 x 4 x 4 cm (2), 244 x 4 x 4 cm (2), 14 x 48 x 4 cm (1),
152 x 4 x 4 cm (1), 282 x 4 x 4 cm (2), 76.5 x 299 x 2 cm
(2 parts 8 fixed slats 76.5 x 4 x 2 cm each),
301 x 4 x 4 cm (1)
Dimensions variable, approx. 800 x 300 cm
Sister Perpetua's Lie implies a specific narrative order,
literally “outlined.” Just as Roussel uses the novel as a
format, Morton establishes parameters within which the
observer/reader is urged to make visual and verbal
associations.
It was the first piece in which natural and synthetic forces
collide, thereafter Morton worked with generous optimism
to achieve their effectual coexistence.
