Vitrines (2010 - ....)
by Claire Morgan

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Not to shock, but to show how deeply everything is connected.

Can you call it love if you’re the one causing the damage, but nothing here is innocent.

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A suspended stillness.
Each moment captured in mid-air, each trace hovering with precision.

Claire Morgan’s Vitrines are not displays of nature,
but dissections of entropy, time, and memory, held in tension.

Claire Morgan’s Vitrines is an ongoing sculptural series developed since 2010. Each work is a meticulous composition of found organic matter, seeds, insects, fur, and the remains of animals suspended in intricate nylon grids. These fragile structures do not aim to reconstruct nature, but instead, reflect on its impermanence, its decay, and our role in its manipulation.

Working at the intersection of sculpture and installation, Morgan explores the quiet drama between order and collapse. The precise geometries of her suspended forms evoke a laboratory or a reliquary, yet what they contain is neither clinical nor inert. The compositions pulse with still life tension, suspended just before collapse.

Born in Belfast, Claire Morgan trained in fine art at the University of Northumbria. Her interest in material cycles, waste, and the ethics of control runs through much of her practice. In the Vitrines, these ideas take physical form: seeds and taxidermy, gravity and stasis, entropy caught in a transparent grid.

Though motionless, these works feel in motion. Airflow patterns are made visible by the dispersal of seeds.

Predators and prey are locked in silent tension. The natural elements are never framed as decorative.

Instead, they are uncomfortably present, rendered in a system where every filament and feather carries weight.

The Vitrines do not offer peace. They ask for attention, for reflection.

They invite the viewer into a confrontation with control, containment, and the illusion of permanence.