Wayfinding: Located right in the center of town off Ute Pass Avenue, Heartmouth will be placed in Gazebo Lake Park as one of the Green Box Arts Festival’s 2020 featured art installations. The sculpture will be on view through Labor Day, 2020.
Colorado native, artist, and sculptor Pard Morrison’s work will be on display this year with an installation at Gazebo Lake Park in Green Mountain Falls. On display June 24 – Labor Day, his newest installation, Heartmouth, is an antidote for the artist. Morrison creates sculptures with a vision to convey a sense of love, happiness, and community. Working to resolve his own inquiries, it is Morrison’s hope that those who interact with this piece come away with a cathartic and joyful experience.
“With the anonymity of our social media based culture, too often people use the platform for less than genuine ideals, and self-aggrandizing,” says Morrison. “Heartmouth was created to convey that we are always stronger together, and if you are going to open your mouth—it better be coming from your heart.”
Morrison’s aluminum fabrications, appearing both solid and apparitional at once, are based on a rational, geometric foundation, with the use of color to denote depth and space. He describes his work as “momentary portraits of systems that are in flux,” with the likeness to something engineered and purposeful displaced by the viewer’s awareness that optical perception plays a key role in how an object is recognized.
“I was elated to be invited to exhibit for the 2020 Green Box Arts Festival—it makes me really proud to represent contemporary art and artists from Colorado Springs,” said Morrison. “Being a ‘local’ contemporary artist, and having lived my whole life in Colorado Springs, I have been familiar with Green Box nearly since its debut. It goes without saying, being an geometric abstractionist, that one of my favorite installations was Spencer Finch’s 2015 festival installation, Back to Kansas.
Morrison also creates miniature and large-scale geometric paintings using a palette that is at once commonplace and unique to his work. He calls his paintings “mutations,” a clever title for work that initially appears quite rational. He aims to create work, that upon first encounter, primarily reads as artificially fabricated, but upon further investigation, the visual strength of its own ‘objectness’ is compromised by specific human mark making. The familiar materiality and shape display attributes that are somewhat unnameable, visually discordant, and nonspecific.