Nicola Morra
Andy
I view painting as a form of reverence—a deliberate act of creating space for contemplation. I often explore how objects serve as tangible memories, reimagining quiet histories through found photos and artifacts. Central to my practice is the belief that objects hold an intrinsic connection to people and the past, acting as vessels through which personal histories and relationships endure over time. Through these items, we maintain links to those who came before us, as well as to forgotten or overlooked moments that still resonate in our lives today.
In my paintings, form is essential to conveying the emotional and conceptual depth of the work. The juxtaposition of blurred, ethereal figures with hyper-realistic objects creates a dynamic tension between presence and absence, mirroring the way memories shift between clarity and obscurity over time. By employing soft, muted color palettes, intentional blurring, and meticulously rendered trompe-l’oeil details, I explore the materiality of memory itself—how it can be fragile yet enduring. These aesthetic choices invite viewers to not only see but feel the weight of these artifacts as vessels of personal and collective identity. My paintings evoke a deeper empathy and appreciation for the material world, illustrating how everyday objects act as tangible memories and as symbols that connect us to our pasts and shape our personal narratives.
My most recent project, Within the Lining, investigates how handbags occupy a unique and important place in the lives of many individuals, serving as functional survival kits and intensely personal receptacles. In a world where violence against women, non-binary, and transgender individuals is an ever-present threat, the contents of these handbags—ranging from good luck charms to self-defense tools like pepper spray and knives—reveal a profound interplay between self-expression and personal safety. This project examines how these everyday items contribute to a material 'portrait' of the individual, reflecting the balance between personal identity and the need for protection. Through a series of oil paintings, informed by interviews with individuals about their personal handbags, the project delves into the symbolism of these items and the complex dynamics they represent. By blending surrealist and realistic techniques, this work provides a nuanced narrative of how individuals navigate societal pressures and assert their identities. Beyond a creative research endeavor, this project signifies a commitment to fostering dialogue and empathy, using art as a transformative tool for awareness and positive change.
One of the paintings from this series, Andy (2024), depicts an assortment of items floating in the foreground against a muted, blurred portrait of an individual, obscuring the face. Items depicted include heart-shaped tortoiseshell sunglasses, two notebooks, a golden Orthodox style painted icon egg, and other objects that make up a material ‘portrait’ of the individual in this certain moment. Fabric shears among these personal objects, distorted to appear larger, highlights the confusing dialogue between vulnerability and agency that many must navigate on a daily basis.
Nicolina Morra is a senior BFA Studio Art candidate at Florida State University, with minors in Art Entrepreneurship and Italian Language. She is interested in material culture as well as associations with identity and memory through objects. Her work has been included in exhibitions at La Luz de Jesus Gallery, Field Projects, Thomasville Center for the Arts, and the Gadsden Art Center & Museum. Additionally, her work has been published in the Kudzo Review and SIX Magazine.