Giselle Noelle Morgan

Giselle Noelle Morgan • twenty-one • artist • harpist •

[gisellenoelle]

If you’re in London this weekend, please come see my photography at the opening exhibition at the Tate Modern! It’s incredibly elating to have my piece displayed in this show that's brimming with young + stellar international artists.

[thefeministdefinition-deactivat]

The Feminist Creatives: Giselle Noelle Morgan

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“I would write a poem everyday in one sitting because I was so terrified of my unfiltered voice”

Here at The Feminist Definition, we are putting creative young minds under the spotlight. Our first interview of the series is with artistic visionary and progressive photographer: Giselle Noelle Morgan.

-Feast-

“How old are you and where are you from?”

“I’m twenty-one and currently living in Los Angeles studying for my undergraduate degree at CalArts. I actually just moved to Salt Lake City to begin a new body of work while simultaneously interning at the UMOCA.”

“How long have you been taking photos?”

“This August will be my three year anniversary.”

-Written on the Body-

“What led you to explore photography?”

“I began taking images on a road trip across California, Nevada, Utah and Arizona. For the first year and a half, I was only producing photo diaries. During my first year at college, my brother Colton gave me a Pentax K1000. I then gradually began to focus on more conceptual works that intersected with my gender studies.”

“Tell us about your creative style, how would you describe your work?”

“Well, I see my work in three different stages. The first for documentary; when I was exiting high school purgatory and entering autonomy in a university setting. The second phase was my early feminist photography, necessary for me to grow into where I am now. Currently, I’m submerged in performance for camera and self-portraiture. There are still these themes of gender and oppression, but my research has advanced. The self-portrait aspect of my photography is pivotal to my exploration of female art history and the radical action of being my own muse, while omitting the orthodox facet that I exist to inspire a male artist.”

-Exiting Teen Purgatory-

“What subject matter do you most enjoy working with?”

“I primarily use myself as the subject in my new collections. I think the subject matter I’m most intrigued by is my persona and my second self which is inherently my idealized self. I identify my persona with my middle name, Noelle, since she feels so sewn into who I am and craves to embody in my day-to-day interactions. This persona arises particularly in my short poetry films; the hypnotizing voice that has transcended sexuality, gender, or any earthly problem I face in reality.”

“How do you incorporate feminism into your artistry?”

“Feminist and gender theory is something I feel is an integral part of my being and personality; existing as a monumental aspect to the way I live my life. I’m classically trained and well versed in America’s second-wave feminist movement, so I think that’s led me to understand the ‘third-wave’ a little more critically and historically. Whatever I’m reading or researching is analysed with this feminist theory lens I have. Incorporating my research into my art is a mentally synthesized fusion.”

-Under Water Pressure-

“What drives you to continue creating masterpieces?”

“It’s so heart-warming to hear someone call your work a masterpiece! Most of the time I feel as though I am just producing and tossing my work into the ether of the internet. In order for me to continue making images, it’s vital to archive and write about the female artists who have influenced my practice; the sources of repetitive inspiration.”

-Written on the Body-

“Who inspires you?”

“Right now, I’m immersed in the performances of Regina José Galindo, Rebecca Horn and Janine Antoni. I’m also constantly referring back to Karen Miranda Rivadeneira’s photographs and Kelly Schirmann’s poetry.”

“Your short films appear abstract, sensory and poetic. We are interested in the creative processes behind such conceptual cinematography. How do you turn your initial ideas into reality?”

“All four of my short poetry films are a scenic lookout to specific transitioning moments in my life with the intention of showcasing radical vulnerability. The poetry was written over the span of six months as a form of therapy. I would write a poem everyday in one sitting because I was so terrified of my unfiltered voice and felt I wasn’t given enough space to talk in this way through academia. My first short film, ‘Peach Pit’, was actually the first poem I ever wrote. I felt as though it had to be made into something more than just a journal entry. I made each film because I needed the cathartic release. The poetry, images and rhythm had to enter the public sphere. The iconography in the films is very feminine and embodies my persona, Noelle. There is a particular tenderness in the films, but the act of making my vulnerability public gives this second-self a powerful characteristic that is not sullen from isolation, but welcomes it with grace. Incorporating film and poetry produced a space where there was no boundary between reality and my personal truth.”

-Someone Else’s Garden-

“If you could travel anywhere in the world to capture the environment through your lens, where would you go and why?”

“Tibet, I feel really empathetic towards their history, occupation, and the Chinese demolition of their sanctuaries and people. It’s a very special and tragic place to me. I’m not sure if I would even photograph anyone, but just exist there and listen.”

“What do you hope to achieve in the future?”

“I’d love to be a part of more female based exhibitions and collectives. I also want to make a series of self-portraits with my dear mother this summer.”

-Our Lady of Forgiveness-

http://www.gisellenoelle.tumblr.com/

http://www.gisellenoelle.bigcartel.com/

[gisellenoelle]

A recent interview I did with The Feminist Definition! 

[gisellenoelle]

"Self-Portrait, Embarcadero”

Spring 2016 . Mamiya Seven

[gisellenoelle]

“House Party Tears”

Self-Portrait Illustration . Winter 2016

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“A Change of Their Own”

Spring 2015

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“Pantone 432: Personal Altar”

Digital Single-Lens Reflex . Winter 2015

The Pantone Collection is the photographic rejection to the homogenization of specific attitudes online; as a trend, many individuals market themselves as a product of apathy through a mixture of boredom and wit, which is fraternal to being a product of late-capitalism. These self-portraits are an online occupation where I invert this movement to demonstrate the reality of vulnerability while exploring the connection between color + personal habitats. This photograph is the depiction of an inchoate agony that leaves the body anesthetized + yearning to self-sacrifice oneself back to the slate grey earth.

[gisellenoelle]

It would be kind of a bummer if you left Puget Sound. That school needs more people like you to help legitimize it.

Oops, I’m already gone!

I think there are some really motivated + beautiful people at UPS. I don’t think the school as a whole is that radical though. The university didn’t have the conceptual art department I needed + I found the student’s work to be utilitarian + linear. Despite that, I still hold the academics with me + appreciate aspects to my experience there.

[gisellenoelle]

Stills from Bleached + Reborn

[gisellenoelle]

“Bleached + Reborn: A Short Poetry Film”

DSLR Video . Fall 2015

Bleached + Reborn is a self-portrait poetry film that illustrates a shared despair with the Virgin Mary while simultaneously expressing the power of religious female iconography. This is a depiction of my evolving relationship with the Madonna - ambling through grocery stores, empathetically sitting in pews at Catholic school, and now as an isolated woman in my twenties.

[gisellenoelle]

“Pantone 536: Fleeing as a Symptom”

Digital Single-Lens Reflex . Fall 2015

The Pantone Collection is the photographic rejection to the homogenization of specific attitudes online; as a trend, many individuals market themselves as a product of apathy through a mixture of boredom and wit, which is fraternal to being a product of late-capitalism. These self-portraits are an online occupation where I invert this movement to demonstrate the reality of vulnerability while exploring the connection between color + personal habitats. This photograph is the visualization of frustration + longing to escape within an environment composed entirely of unforgiving grey surfaces.

[gisellenoelle]

“Pantone 187: The Nostalgic Bone”

Digital Single-Lens Reflex . Fall 2015

The Pantone Collection is the photographic rejection to the homogenization of specific attitudes online; as a trend, many individuals market themselves as a product of apathy through a mixture of boredom and wit, which is fraternal to being a product of late-capitalism. These self-portraits are an online occupation where I invert this movement to demonstrate the reality of vulnerability while exploring the connection between color + personal habitats. This photograph is the depiction of vulnerability + exudes a crimson shade that alludes to the division between female internalized matter - fantasies, beauty, and sexual organs - which are not visible to the public and what manifests on the outside for all to see - acne, menstrual blood, and tenderness of emotions.

[gisellenoelle]

“Pantone 134: Season of the Softhearted”

Digital Single-Lens Reflex . Fall 2015

The Pantone Collection is the photographic rejection to the homogenization of specific attitudes online; as a trend, many individuals market themselves as a product of apathy through a mixture of boredom and wit, which is fraternal to being a product of late-capitalism. These self-portraits are an online occupation where I invert this movement to demonstrate the reality of vulnerability while exploring the connection between color + personal habitats. This photograph is the visualization of abrading embarrassment + the tenderness of gentle golden tones found within an abrasive landscape.

[gisellenoelle]

“Someone Else’s Garden: A Short Poetry Film”

DSLR Video . Fall 2015

Someone Else’s Garden is a short poetry film that acts as a self-portrait in the nighttime. My aim was to visualize my anxiety which is only cured by escapism + driving alone in the evening. 

[gisellenoelle]

“Pantone 426: Obsolescence”

Digital Single-Lens Reflex . Fall 2015

The Pantone Collection is the photographic rejection to the homogenization of specific attitudes online; as a trend, many individuals market themselves as a product of apathy through a mixture of boredom and wit, which is fraternal to being a product of late-capitalism. These self-portraits are an online occupation where I invert this movement to demonstrate the reality of vulnerability while exploring the connection between color + personal habitats. This photograph is the depiction of femininity as being akin to an abandoned SUV in every church parking lot, it is a tangible darkness + is thick with isolation.

[gisellenoelle]

“Praxis: A Short Poetry Film”

DSLR Video . Fall 2015

Praxis is a short poetry film centered around my morning rituals as well as internalized dialogue. I was interested in illustrating the intimate + vulnerable environment in which I reside.

[gisellenoelle]

“Pantone 471: The Isolation Archives” 

Digital Single-Lens Reflex . Fall 2015 

The Pantone Collection is the photographic rejection to the homogenization of specific attitudes online; as a trend, many individuals market themselves as a product of apathy through a mixture of boredom and wit, which is fraternal to being a product of late-capitalism. These self-portraits are an online occupation where I invert this movement to demonstrate the reality of vulnerability while exploring the connection between color + personal habitats. This photograph is the visualization of earthly rust tones that exhibits a specific warmth + croon to female despair which is only palpable with a return to nature.

[gisellenoelle]

“Devotion Redacted”

Thirty-five millimeter . Fall 2014