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  • geometric abstracts, inspired by the structures and tensions of cities and their architecture. “I was beckoned to live here,” the 46-year-old says of her apartment. “I could not believe my luck.”

    In person, Morris is far less intimidating than expected. Yes, she’s fiercely intelligent –within five minutes she has referenced novelist Vladimir Nabokov, designers Charles and Ray Eames and architect Oscar Niemeyer – but she also laughs easily and is appealingly self-deprecating (“Do I look like a model from a Robert Palmer video?” she jokes of her hairdo).

    Her dry wit perhaps stems from her roots in England, where she was born in 1967, to an English father and an American mother. “We moved to the US when I was a child,” she says. “My father came for his work.”

    With both her parents scientists, Morris “learned to question everything, to be very skeptical”. She carries two passports and always felt a little displaced as a

    PROFESSION: Artist

    MY STYLE: Feminine but structured, with a relationship to sport. Sometimes I go for bold color, other times just white

    MY GO-TO LABELS: Givenchy, Saint Laurent, Isabel Marant

    MY FAIL-SAFE PIECES: Silk blouses by Isabel Marant, jodphurs by Hermès, tees by
    Proenza Schouler

    MY FAVORITE ACCESSORIES: I seem to have a thing for white accessories

    result. “I wasn’t fully American, nor was I British,” she says. “Even though I grew up in America, I felt this distance from the culture.”

    After studying semiotics at
    Brown University, she went to England’s Cambridge University
    for a year, where she read social and political theory. It was a turning point. “I met a lot of
    people who were interested in art,” Morris explains, “and I saw a number of exhibitions that were important to me. I got bitten by

    Dress by Narciso Rodriguez

    November 2013
    , 2013 (above); Electrobras [Rio],
    2013 (right)

    “I don’t LOOK back and wonder if I could have done things differently. The PATH I took was the path I HAD to take”


    Artwork courtesy of Sarah Morris and Petzel, New York

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