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Erin Morris
Runny Egg, 2025
Oil on linen
5 x 7 inches
(12.7 x 17.8 cm)
Courtesy of the artist and Europa, NY

Erin Morris Warmer, Warmer

Morán Morán is pleased to present Warmer, Warmer, the gallery’s first exhibition with Brooklyn-based artist Erin Morris.

When you play the “hot and cold game” being told “warmer” is an indication that you’re getting physically closer to something you’re looking for, cold means nowhere close, hot means you’ve arrived. Here, the heat comes from presence and the cold from absence. The association between distance and temperature might stem from our planetary perspective; summer comes when the sun is closest to our hemisphere and winter when it’s farthest. We’re situated in a “Goldilocks zone” of the universe, where our proximity to heat makes our world uniquely suited for life in a galaxy full of freezing and uninhabited planets. I imagine the association of warmth with closeness also comes from our bodies. Near to or even touching another person you can feel the heat radiating off their 98 degree form. When we die we go cold. 

These associations can be misleading though — the company of others is sometimes cold and solitude can be temperate. Though “warmth” can refer to affability, it’s not as simple as “warm/good” “cold/bad” and getting warmer is not always comforting or comfortable. Warmth can indicate approaching danger— draw too close to a flame and you’re liable to get burned. The synesthesia of temperature to emotional atmosphere extends to the visual too— some colors we call warm are often the same colors that signal approach with caution, be it poisonous snakes, traffic signs, or safety flags on a rough beach. As I type now, here on this warming planet, my hometown is being ravaged by unprecedented floods and I watch on the weather channel as local maps are painted with the deep oranges and reds of dangerous conditions. As a kid I imagined global warming as the sun drawing slowly but uncontrollably close to earth.  

This work is a presentation of proximity, and consequently is as much a thermometer as a visual record of encounters. Do you feel the greenhouse effect of my attention? Can we please, please turn on the A/C?

– Erin Morris, 2025

Erin Morris (b. 1994) is an artist and children’s art educator born in Latrobe, PA and raised predominantly in central North Carolina. She is currently based in Brooklyn NY. Morris received her MFA from The University of Pennsylvania in 2024 and her BFA from The Cooper Union in 2017. Morris has recently exhibited at Europa, with a solo presentation titled 5-7 Business Days; and at Greene Naftali, in the group exhibition titled On Landscape.

Dates

July 26 - September 03, 2025

Opening Reception

Saturday, July 26, 6-8pm

Location

641 N Western Avenue
Los Angeles, CA 90004

Artist

Erin Morris

Luis Gispert
Entry Point, 2025
Acrylic and ink on cotton rag
31.25 x 23.75 inches
(79.4 x 60.3 cm)
Courtesy of the artist and Morán Morán

Luis Gispert Haptic Fantastic

Morán Morán is pleased to present Haptic Fantastic, the gallery’s fifth exhibition with Cuban-American artist and filmmaker Luis Gispert.

Born in New Jersey, raised in Miami, and based in Brooklyn, Gispert has spent the last 25 years examining how subcultures influence mainstream aesthetics without losing their core pulse. His work captures the tension between cultural absorption and resistance—how fringe styles become popular, yet still hold onto their original charge.

This new body of work includes five small and medium-scale abstract paintings and a single large sculpture made from stacked plywood forms. In the paintings, Gispert creates layered, circular compositions that feel both improvised and precise. These dense, almost glyph-like marks form visual rhythms—like diagrams for sound or coded messages from another place. His hand-driven process lends the works an electric energy, as if each form emerged from a trance-like state that Gispert describes as the “haptic-fantastic.”

The sculptural component of the exhibition is comprised of stacked plywood modular “husks” subtly referencing canonical speakers. Towering and hollow, the structure feels like an altar to obsolete technology—an object that once spoke loudly and now resonates silently. Stripped of sound, it suggests how cultural artifacts can fade from utility but remain charged with memory.

Together, the works evoke shifting geographies—urban maps, futuristic ruins, or alien settlements in tropical landscapes. Haptic Fantastic plays with distance and dislocation, inviting viewers into imagined spaces where past, present, and possible futures all collide.

Luis Gispert (b. 1972) lives and works in Brooklyn, NY. He studied at The School of the Art Institute of Chicago and received his MFA from Yale University. Gispert has exhibited widely, including solo institutional exhibitions at the Whitney Museum of American Art, New York; Berkeley Museum of Art UC Berkeley University Art Gallery; University of California, San Diego; Museum of Contemporary Art, North Miami; Art Pace San Antonio, TX; and Hood Museum of Art, Dartmouth College. His work is in the permanent collection of twenty-eight prominent institutions including the Whitney Museum of American Art, New York, NY; Solomon R. Guggenheim Museum, New York, NY; New Museum of Contemporary Art, New York, NY; Museum of Contemporary Art Chicago, IL; San Francisco Museum of Modern Art, San Francisco, CA; Pérez Art Museum, Miami, FL; Museum of Fine Art Boston, Boston, MA; Institute of Contemporary Art, Miami, FL; UC Berkeley Art Museum, Berkeley, CA; Henry Art Gallery, Seattle, WA; Harvard Fogg Art Museum, Cambridge, MA; Bronx Museum of the Arts, New York, NY; Museo Del Bario, New York, NY; Progressive Art Collection, Mayfield Village, OH; and Haifa Museum of Art, Israel amongst others.

Dates

July 26 - September 03, 2025

Opening Reception

Saturday, July 26, 6-8pm

Location

641 N. Western Avenue
Los Angeles, CA 90004

Artist

Luis Gispert