Morrison’s “Haugh” should also be read in this context: what at first glance appears to be a cloudy mirror gradually reveals a textured quality. A landscape has been etched into the silver reflective foil, visible through a maze of branches. Given its maple frame, the work also resembles a conventional mirror; its visual impact is very subtle, sharing the viewer’s attention with their own reflection. Consequently, when viewing this piece, there is a back-and-forth between perceiving it as having been made of exceptionally precious materials to possibly having been constructed with cheaper elements.

The technical means in “Valley” are similar to those in “Haugh”: two different foils, each displaying a different wood grain, are layered on top of each other to create a landscape with trees seen through a fence. One foil serves as the background, while the other, with varying degrees of lightness or darkness, brings out the motif. This results in an amplification of the concept of “wood”: viewers perceive trees, various veneers in their materiality, the texture of the fence—and also the maple frame, the only “real” wood grain in the work. When combined, these seemingly simple techniques create a complex effect that both references 16th Century inlay work and critiques bourgeois design choices.

“Agent” and “High Plain” can be likened to looking through a window onto a landscape where stylized comic-book trees coexist seamlessly with towering woodcut-esque lilies. 
Morrison skillfully blends a striking visual idiom with intricate, multi-layered references to various cultural domains.