Morgan Stokes

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Black Matter
Richeldis Fine Art
Calle Sant Pere Mes Baix 64
Barcelona
October - December 2025

Virgin
Oigåll Projects, Melbourne
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2025

Black Matter

Richeldis Fine Art
Barcelona, Spain
Alongside Gary Kuehn 9 October - 22 December 2025
Install photography by Francisco Nogueira

Catalogue Biography
Morgan Stokes (b. 1990, Sydney, Australia, on Darug/Kurringgai land) is an emerging artist based in Sydney/Gadigal land. His practice moves between painting and sculpture, often deconstructing these mediums to their fundamental elements—pigment, cloth, stretcher bars, stone—before reassembling them into forms that question their very conditions of possibility.

By dismantling the conventional hierarchies of medium and support, Stokes interrogates the supposed value of each part and its role within the widely understood formula of what makes an artwork. Central to his work is the notion of the “virtual gaze”: the shifting mode of perception that emerges in a world increasingly mediated by screens. In this light, the painting is never just an object but an image endlessly circulated, flattened, and reframed in the digital sphere. Stokes positions painting as a metaphor for personhood—always at risk of distortion, yet charged with the possibility of reconstruction. 

Coupled with this conceptual inquiry, his practice engages with the sculptural possibilities of painting, producing works that oscillate between object and image, surface and support, material presence and virtual illusion. In recent works, this has taken the form of dense, black nickel sculptures that appear like amorphous blobs, spreading across the gallery floor in ways that resist containment. These forms suggest a material agency that exceeds their boundaries, as if the work itself were leaking into the space of the viewer. Alongside these works, Stokes has extended his inquiry into installation, where the plinth—traditionally a structure of support and elevation—becomes part of the artwork itself, growing upward and folding back on its function. This quiet but insistent subversion offers a conceptual echo of Gary Kuehn’s legacy: questioning where form begins, and where it might give way.