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'The aspects of things that are most important for us are hidden because of their simplicity and familiarity. (One is unable to notice something because it is always before one's eyes). The real foundations of this enquiry do not strike us at all."1
Christine Morrow's enquiry into the relationships between objects and images in her recent exhibition, Correspondence, relies very much upon simplicity and on our familiarity with everyday objects-bed linen, sheets of foolscap, computer paper, air mail letters and pillows. Morrow remakes these mundane domestic items, primarily in canvas, and produces work which has a quiet acceptance of both the object, its materiality and the image it produces. Morrow has employed a number of strategies in the re-making of her ready-mades. These strategies range from the double-take mimicry of the sheet of computer paper, Untitled Drawing, to more subtle reminders of objects such as air· mail letters in One Painting, Cleaving and to obvious transformation pieces such as the boat/hat, Hat Paintings. Through their varying degrees of trompe l'oeil Morrow's work invites us to ponder the relationships between objects and images, representation and material. Her gentle reminders of what the eye perceives produces an art that is about looking and not so much at things but rather through them.
In a subtle twist on the tradition of the readymade, Morrow's objects have been carefully re-made, with small creases as signs of this making and of their possible use. On the one hand Morrow has restricted her painted gestures to all but the marks necessary to remind us of an object-the stripes on the sheet of foolscap, the small rose on the billet-doux, the