Callum Morton explores our relationship to the built environment. Addressing both iconic modernist buildings and vernacular architecture, his works present architectural spaces as sets for personal narratives, social history and invented stories.
Silverscreen 2006 is from a series of sculptures inspired by the outdoor-cinema screen. The drive-in cinema originates in the golden age of Modernism, an era of consumer affluence; here, Morton uses his scaled model to explore themes of destruction, decay and visual representation. Art historian Edward Colless says Morton’s models are ‘a bit like Pandora’s boxes: exquisite enclosures harbouring delicious evil and violence’. In this work, Morton subtly subverts the structure on which our dreams, fears and desires are projected. The literally silver screen is peppered with bullet-like holes and reminiscent of a vandalised outback road sign. A sense of exclusion is expressed: no images will or can be projected on this surface, and this model can never recapture the projected cellular dreams of the original.