SF Weekly interviews 100 people in San Francisco arts and culture.
No. 94: Jeremy Morgan, associate professor, San Francisco Art Institute
Artist Jeremy Morgan recounts the day his parents gave him "various mystical texts" including Lao Tzu's Tao Te Ching, the Bible, and the Koran. "All of these are possibly right," they told him. "You need to figure that out." Morgan, an associate professor of painting at the San Francisco Art Institute, has been exploring that through painting ever since. The arresting images in his large-scale abstractionist landscape paintings fall somewhere between dream and reality, with colors that appear to transform, as they might in a memory. "I desire to create the moment as sensation rather than record," he says.
The Sebastopol Center for the Arts will present two art talks this month.
Jeremy Morgan, juror for the center’s current “Abstract” exhibit, and associate professor at the San Francisco Art Institute, will speak at 7 p.m. Friday April 22
Cézanne, who synthesized his keen observations of reality with a powerful impulse toward dynamic composition, famously described his less cerebral colleague Monet as “only an eye, but what an eye.” To modern sensibilities shaped by Cubism and abstraction, much Impressionism does indeed look merely “optical” (to echo Duchamp’s briskly unfair dismissal), but the joining of real and imaginary, objective and subjective does fuel much great art. Jeremy Morgan, an English-born painter who has worked and taught in San Francisco for many years, describes his works as fusions of conceptual and perceptual, “pivotal points between internal feeling and external stimuli, a meeting place of the material and the non-material.” His large acrylic works on canvas or wood (or canvas stretched over wood) and his small painted collages in “Imaginal Geographies” confirm that evaluation.