Through fabric, air, and resin, the artist shaped ghostly silhouettes that turned the act of dressmaking into sculpture. In ‘Tissu Expansé’ at Europa Gallery in New York, Brandon Morris blurred the boundaries between body and void.
Though the exhibition has now closed, its spectral presence continues to resonate. In his latest series of resin-cast ‘Ghost Dresses’, Brandon Morris transformed garments into apparitions, delicate forms suspended between fashion and sculpture. Each piece, crafted from green-tinted resin inflated with air rather than shaped around mannequins, appeared frozen mid-motion, as if the fabric were breathing.
Presented at Europa Gallery, the show deepened Morris’s exploration of material absence. Drawing from Victorian children’s wear, with its shrunken shoulders and constricted waists, these works suggested that memory and emptiness can coexist within the same shape. Developed during his residency in Paris, ‘Tissu Expansé’ replaced the human figure with air, making the void the true protagonist of the sculpture.
A Parsons School of Design graduate based in New York, Morris describes his practice as an inquiry into “the object of the clothing,” treating garments as living forms detached from the body. With Tissu Expansé, he distilled that philosophy into its purest state, giving air, intangible, invisible, the weight of memory. What remains is not absence, but the quiet persistence of shape once life has left it.
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