Ann Morton
EC Corps, 2023
Original Face Emotions: Embroidery on Cotton; Banner: Pieced/Quilted Cotton, Digital Prints, Applique, Embroidery; Posters: Artist Designed Imagery, Researcher’s Photograph, Monoprint; Pamphlets: Artist Designed Imagery, Monoprint; EC Corps Patches: Artist Designed Imagery, Commercial Embroidery Varies
This project was a result of a pairing between artists and researchers sponsored and organized by the Phoenix BioScience Core. Artists and researchers apply for the year-long program where artists learn about the particular research being done by their research partner. Ann Morton was paired with Dr. Barret Michalec who's research centers around bringing empathy in the health care educational system. Three key pieces emerged through various interactions between Ann and Barret, and it was on these points that the overall concept was developed: 1.) Barret considers his research, work and advocacy within the health care educational system as a form of protest; 2.) That recognizing the subtle movements in the face, with practice, can reveal the true emotions of whomever one is interacting with - these facial expressions are dubbed the “Primary Signal System”; 3.) That Barret’s research is based on his belief and personal experience that humans were born with an innate ability to feel empathy, to “get inside” of anothers’ emotional state. This “super power” (as Barret coins it), is called “Emotional Contagion”. Given these key elements, it was decided to use factual research information to develop, design and create a collection of objects that would build a persona around a quasi-fictitious resistance group called the EC Corps (Emotional Contagion Corps). Imagine this - a clandestine meeting place where the EC Corps “Contagionists” (followers) would meet. You might see a rallying banner at the head of the room, a framed set of hand-made embroideries that become the symbols of the “Primary Signal System” displayed on the walls, promotional posters touting the group’s slogan – “Stay Alert, Stay Aware, Stay Contagious” waiting to be posted, indoctrinating pamphlets that describe the details of the “Primary Signal System” for new recruits, and embroidered patches available to all EC Corps “Contagionists” to display on clothing or backpacks. Through this collection, the ideas and mission of Barret’s research are defined, but also the earnest character and progressive personality of his communication style are also reflected.
Ann Morton
White Lies, 2018
Waxed linen-hand made netting, White sand 15” x 15” x 12” (approx.)
We were visiting the White Sands National Monument and somehow, I didn’t think twice about putting some of the sand in a bag for a future work. I also found some white plastic netting and I was struck by the aesthetic of the white on white effect of the netting embedded in the sand. Later, while collecting some dry grasses, I was confronted by two rangers who drove up to ask what I was doing. Needless to say, my collection was not allowed, and upon further search, they found my bag of sand too. I’m ashamed of my reaction to the rangers, because I told a few “white lies” in this exchange. I lost the sand and I got a $200.00 fine. I made “White Lies” to relate this very real incident, but it also speaks to the idea of white privilege and how it holds no substance. What might this have to say about our broader social condition in today’s world?
Ann Morton
Catching Time, 2018
Found wood plank, Found clevis, Found stones, Acrylic paint, Waxed linen, Monofilament 8 ½”w x 43”h x 4”d
We underestimated the time it would take us to drive the Cape Brenton loop on the northeastern end of Nova Scotia. As night fell, we realized that if we kept driving, we would miss the magnificent views and landscape in the dark. So, with some trepidation on my part, we pulled just off the road at a viewpoint widening and decided to spend the night in the car. We carefully positioned the vehicle so that in the morning, our view would be down a vast valley, on out to the sea. It was a bit scary, but we were left undisturbed. Back on our way the next morning, we stopped at a beach where there were thousands of sea-smoothed stones stacked in cairns everywhere as far as we could see. It was as if we were receiving confirmation of our decision to stop and let time pass, so that we would not miss such a sight as this field of cairns. How often must we remind ourselves to stop, and catch time?
Ann Morton
Trespasses, 2019
Vintage Morton family embroidery sampler; new embroidery 21 1/2" x 25"
This cloth was most likely an embroidery lesson created by my mother for me. I vaguely remember embroidering this Lord's Prayer, but it is also likely that my mother finished it for me. Now it's my turn to complete this work to modify and layer this solemn prayer with another reality that many of us, who have recited this verse since childhood, must accept and address.
Ann Morton
Proof Reading Series, 2017 - 2020
Ongoing series of hand-made handkerchiefs - Cotton sheeting, Embroidery (Each) 12" x 12"
In these days of the “post-truth society”, when fact-checking goes unnoticed or unheard, reading the written and spoken word for the proof of truth will be a new survival mechanism it would be wise for us all to employ.
Ann Morton
Violet Protest, 2020-2022
Various mixed textile media Varies -
a nation-wide public art project that employed hand-made textiles as tools for protest against political divisiveness. The color Violet symbolizes the literal combination of red and blue, familiar symbols of our nation's differing ideologies. The project focused on values we hold dear, rather than specific political or social issues. Over 2000 makers from across all 50 states, DC, and 5 Canadian provinces contributed 8 x8-inch squares using a variety of textile processes, in equal parts red and blue. By completion, we collected approximately 13,500 squares yielding 25 squares that were bundled and send to each member of the 117th Congress as a unique demonstration of protest, and to voice our hopes and support for cooperation between lawmakers on both sides of the aisle.
Ann Morton
Voluntary Protective Action, 2021-2022
US Flag, hand-knit wool yarn 53" x 76"
During the course of the Violet Protest* exhibition at Phoenix Art Museum in 2021, Ann knitted the front panel of this flag’s sweater - combining red and blue yarn in an intertwined cable stitch. The knitted pattern represents the interdependence of red and blue - familiar symbols of our nation’s political parties - to maintain the integrity of the cloth of our democracy. Traditionally, we make sweaters or blankets for those that we care about to protect them and keep them warm and safe, hence this out-sized sweater for the American Flag, the visible symbol of our American unity.
Ann Morton
31 over 110, 2024
handwoven linen, cochineal dye, cactus spikes, found object 11”W x 42”L x 1 1/2”D
The summer of 2023 in Phoenix, Arizona was a record-breaker. Even for a native Phoenician like me, it was brutal - 31 consectutive days spiking over 110° F. There would be more before we’d emerge from those endlessly hot summer days. With each event like this, no matter where you are on planet earth, it is further proof that climate change is real, in force, and building. Our days are numbered.
Ann Morton
When I’m 64, 2018
Wool Yarn, Cherry Pits, Lead Shot, Steel Hoop, 64 Speculums Approx. 84"h x 24"w x 50" d
When I’m 64 is a metaphor for Ann Morton’s sixty-four years of being a woman—each drop, line, and band holding a speculum above the floor represents one year. It is in this sixty-fourth year that Morton underwent a hysterectomy—surgery to remove the uterus—a palpable change to the female body and psyche. The work reflects significant moments in the artist’s life, such as crochet roses on the 25th and 40th drop for the birth of her two children. While this work represents Morton’s personal story, it also holds symbolic meaning for all women who undergo menstruation, birth, and menopause, as well as jumping through hoops to accommodate a society that expects these vital experiences to remain in the background.
