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Quench300: Quench


By Christopher Hill Morse

Currently available archivally matted and framed, 26"x 20" for $350.

"Quench" is one of three works in my "Carpe Series." Each features a skeleton. I did all three the year that I turned forty. I guess I thought that if someday, long after I was dead and gone, my work might be studied, that somewhere, in the late of night, struggling for the meaning behind "Quench," a person might see the little fish followed by the letter A in the bottom right corner of the piece and upon realizing that the fish was a carp, with a rush of humor -- the person's smile welling up first from deep inside them, and rising to their lips -- they would utter the Latin phrase Carpe Diem. And I would!

From our Tenth Anniversary Booklet 1997 (found in Background):

Denise: Chris is stretching the meaning of our original philosophy with his newest works such as "Quench." He is responding to a need to comment in a provocative but universal way about basic requirements for human life and our connection to the Earth. These are clever pun-filled works. They are very rich black and bright white and show well-developed texture and detail. They have come into being with a flourish. I look forward to his next images.

Christopher: I continue to have eclectic tastes in Art. I like work in many different styles. It is more often the energy a piece gives to me rather than any specific style or content which leads me to create. Sometimes Art with strong spiritual content stirs me. The Hood Museum at Dartmouth had a display of fern wood statues of stylized figures from the Pacific Basin. These were powerful for me. Frederick Church's Iceberg Painting at the Dallas Museum of Art gave me great pause. The Winslow Homer exhibit which came to Boston some years ago, was amazing. I found inspiration from his works, "The Gulf Stream," "The Herring Net" and another painting of a soldier returned from war scything hay. I also really love the playful interaction that the artist Andy Goldsworthy sets up in his art between the work of the artists hand and the patterns of nature.

The new direction that my work goes after I hit a landmark piece sometimes helps to put my previous work in context. Straight representational work did not seem to make it clear to all members of our early audience that we were attempting to empower them from an optimistic and constructive perspective, with the stewardship of our public lands. Subsequent series have challenged the audience to interact more with the work because of its narrative content, or because of the inclusion of just enough clues in the image to suggest that there is something beneath the surface. We hope that this inspires further dialogue with the piece. "Quench" is about story telling.


"22nd National Print Biennial," Silvermine Guild Arts Center, New Canaan, CT, 10/18-11/15/98.
"41st Annual National Print Exhibition," Hunterdon Museum of Art, Clinton, NJ, 6/8 - 7/20/97.