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Morgan is a mixed settler-Metis artist, researcher, writer, and curator based in Calgary, Alberta and rurally in Prince Edward Island. They hold a BFA from NSCAD university, and have since attended numerous residencies at locations such as the Indigenous Haute Couture residency at the Banff Centre for arts and creativity and the Icelandic Textile Centre open studio residency. Morgan has also undertaken multiple large scale public art commissions, such as for the Calgary Public Library’s Indigenous Placemaking Initiative, and a curatorial craft research project on the creation of a fish skin tanning industry in Mi'kma'ki. For the Calgary public library project they focused on creating a community based work; commissioning Treaty 7 beaders to create beadwork berries in their own styles and combining them into one final public art piece. 

 

Morgan creates imaginative, illustrative objects, curatorial projects, and writing that fill the gaps in Indigenous knowledge and narratives; they are not an absolute truth but one possible narrative among many; a way to connect with the past and ancestors through layers of abstraction with no right or wrong answer. What matters is not accurately recreating the lost past, but to capture an inner truth and possible alternative realities through modern interpretations. In a sense, creating culture from a series of “what-ifs”, a place where remembering and mis-remembering are equally valued, with a visceral inner-compass and community consultation to guide the “correct” path forward. 

 

Through this research, exploration, and consultation process, they aim to connect with knowledge keepers and other Indigenous creatives in an effort to glue together traditional Indigenous craft lineages, traditional Indigenous mentorship, and foster new community connections. They prioritize sharing and creating opportunities for other Indigenous and BIPOC / 2SLGBT creatives, and focus on creating projects which allow other, less experienced creatives to collaborate and build community.

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Imagine playing a game of telephone with your ancestors from hundreds of years ago, except that the line consistently cuts out, and you don't understand all of the language that they speak. What you do understand is important; the most important thing in the world. 

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Morgan uses productive misunderstandings as a way to fill in cultural gaps due to intergenerational trauma and the foster care system with new; maybe it's better to create new rather than to allow parts of ourselves and our culture to die. they create objects which have agency and are a part of an Indigenous based worldview and oral history- each object and its associated material qualities are a part of a narrative meant to fill in the lost gaps in Indigenous culture and knowledge due to colonization and genocide.

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