Morgan Sinton-Hewitt

The language of my work arises from my effort to seek, perceive, experience and act from the level of the essential: the realm of elemental interconnection or ‘oneness’ which runs through all life. 

Embodiment is my first realm of work. This sensate life from every-day-ness informs the quality of my visual articulation. Language-carried-life through my body, and into oil colour, which is life. I am a colourist, my work stems from expressionism and I am a story-teller. I also work with clay, and Earth-materials like silk, wood, water and weather. I then work to make tangible, the possibility within me, that for which I am becoming, and in creative coexistence-with. I acknowledge the significance (inherent dignity and function) of the human being within interconnected realms of self, society and land for creative-coexistence.  Working with these elements, through my own life, is like telling a story. I have recently been moving/thinking with the concept of ‘human flowers’ where everyone is unique and irreplaceable and of ‘emerging worlds’ which envision a realm of possibility.

South African born, Morgan lived as a child in Johannesburg, Brussels, England and Scotland. 

Morgan gained entry to The Byam Shaw School of Fine Art (foundation, 2002) and then The Slade School of Fine Art (BA Painting hons, 2003), discontinuing in the first year due to illness, and displacement. She continued to paint. 

An 18 year Socially Engaged Arts Practice crosses the boundaries of education, health and therapeutic arts practice. While co-creating with children living with disability, Morgan had an intuitive understanding of the transformative power of 'mirroring'. A return to study Psychology at Roehampton University (2012), brought her up close with 'mirror neurone' theory (movement is investigated as the neurological underpinning of empathy) in the field of Cognitive Neuroscience. She gained a first class honours degree and the Martin Glachlan Prize (2015). While studying, she met SGI Nichiren Buddhism with concepts of oneness, of 'self and environment', and ‘body and mind’. A major shift led to phenomenological research into possibilities of every-day being and co-becoming (embodiment) for healing through self-other boundaries: in moving dialogue with able/disabled bodies (2015-17), and sensory ‘intra-action’ with earth-phenomena (2016- eg: wood, clay, weather). 

Morgan sought a primordial experience of life and living, to create with and from; a phenomenal essence that is a language of connection.  

An urgency developed in the need to envision a possible future when her partner was diagnosed with cancer, early 2018. Through this 8 year companionship through cancer treatment, the work embodied their struggle to transform and see a way forward. This effort, through her work and life, expanded, permeating all realms of her life, and further deepened through her partner's death in 2025.

The rhythm of her work embraces the seasons, the stormy alchemy of winter's becoming and the emergence of transformation through ‘spring’. The themes that emerged in recent years include 'storm, which embodies the dignity of struggle; 'human flowers' which embraces each person's life as unique and precious, belonging to the whole; and ‘eternity in this moment’ which looks at the power of the present within interconnected past-present-future realities. Morgan continues to embody for future-possibilities, her work grounded in her own body and interconnected process of co-becoming.