The paintings are meticulously executed in gleaming household gloss paint. The facets and rectangular reserved areas in the grids read as both the actual glazing of the buildings and as compact fields of unmodulated colour. Each painting repeats particular colour modules and orchestrates their accelerated interaction in various sequences that discharge both the glamour and magnetic pull of the city with its constant circulation and pulsating neon lights.

Whilst the paintings resonate formally with rationalist modernist strategies running from Mondrian, through Albers to Halley, for Morris their formal reduction is the product of distilled reference to the urban world. Morris reworks and translates her sources into paintings that form a self-sustaining series of parallel architectures. Their radical and oblique compositions combined with complex colour sequences produce an exhilarated feeling. These radiant hard edge paintings with their gleaming paint and looming vertiginous planes seen from above, below or even midair, as if flying by in a helicopter, act like stimulants conveying a filmic sense of urban spectacle.