Bio

Molly Morin is a sculptor, fiber artist and educator based in Western Massachusetts. Her object making practice considers and critiques technology-enabled systems that amplify and extend power imbalances already present in social, political and art-world contexts. Morin has given invited lectures at the Center for Research Computing at the University of Notre Dame, The Society for Science, Literature and the Arts, and the National Academy of Science. She has exhibited nationally and internationally including solo exhibitions at The Collaboratory at UC Santa Barbara, Wittenberg University, Lamar University, the University of Dallas, and the Utah Museum of Contemporary Art. She is currently a visiting assistant professor at Hampshire College.

Methods

Machine Knitting
CNC Cutting
Parametric Drawing
Needle Felting
Creative Coding
Experimental Weaving
Machine Drawing
Sewing
Soft Sculpture
Processing

Exhibitions
Solo unless noted

Made en Mass
South Gallery, Greenfield CC
Greenfield, MA
2026

1055113200
with Nikko Stevens
HASTAC 2023 at Pratt Institute
Brooklyn, NY
2023

Bradford Butterflies,
The Space on Main
Bradford, VT
2023

Information Density
Utah Museum of Contemporary Art
Salt Lake City, UT
2018

Flying Machines
Patrajas Contemporary
Ogden UT
2018

A Short-Lived Escape from Gravity
The Collaboratory at UC Santa Barbara
Santa Barbara, CA
2018

Invisible Things
with Stephen Wolochowicz
Whitespace Gallery
Ogden, UT
2015

Red Balloons
with Stephen Wolochowicz
Clemson University Center for Visual Arts Greenville, SC
2014

Comma nd Plus
with Nia Davies
&/ (andorproject.com)
curated online space
2014

Traces of Awe,
Whittenberg University
Springfield, OH
2013

Labs, Research and Working Groups

The Center for Lagging Technology
founding member

The Three Fates textile design game
consulting member

Liberation + AI Think Tank
member

Black Sound Lab
lead fabricator

Press

A Cohort not a Curriculum, Processing Community Day (2019)

Role/Play: Collaborative Creativity & Creative Collaborations, Studio International (2018)

Review: Heavy Lifting: Works by Molly Morin, Kia McGinnis Wray, Slug Magazine (2018)

Molly Morin

instagram

Made en Mass
2026

Phase Glitch, 2026

As installed at
Greenfield Community College
2026

Phase Glitch, 2026

Drop, 2026

Ill-Fit, 2026

Made en Mass, Installation View

Made en Mass is a first offering in Morin’s new body of work and an introduction to a universe constructed from the discarded. The sculptures and tapestries in this collection are made from yarn reclaimed from piles of unwanted commercially-produced sweaters. Morin disassembles each manually, harvesting the yarn and working slowly, resisting the speed and commodification of labor endemic to this AI era. Each work is made on a hand-powered 1980s’s era semi-industrial knitting machine in their Greenfield, MA studio, housed in a former shoe factory. The surface patterning is produced with hand-punched cards fed to the machine evoking the fast, technologically powered vertical manufacturing industry that is the source of both ecological disaster and violent working conditions. Through the works, Morin invites viewers to sit with the inescapable violence of late stage capitalism and tangible hope for resistance and change.

1055113200
with Nikko Stevens
2023

Lorem Ipsum...

As installed at
Pratt Institute
2023

3.1

3.2

3.3

1055113200 includes nearly 1,000 feet of dot-matrix receipt paper printed with patterns, icons and imagery made entirely of ASCII characters. Five woven receipt-paper banners held together with a grid of brightly colored yarn hang vertically, covering the full usable height of the wall with intermittent undulations and gathers. The vertical receipt papers sit in front, carrying ASCII imagery printed in black interspersed with UNIX timestamps and the horizontal elements are printed with striped patterns in red that alternate with blocks of git hashes. On the far left, in the space where a sixth banner might hang, unwoven receipt tapes drape from the wall out into the mechanical structure of a custom-built loom that holds a weaving in process. At the conference, visitors worked with the artists to add to the banners through weaving on the loom. On the right, in front of the banners, a noisy dot-matrix receipt printer intermittently prints out patterns and images that are recognizable from the banners, but often partial or garbled. The printer creates a voluminous, loopy, active pile that sits in contrast to the well-ordered weaving. The work synthesizes an unexpected array of elements and points to a range of of different types of labor, and as it continued to be printed and woven, that labor is ongoing.

Information Density
2018

Lorem Ipsum...

As installed at
Utah Museum of Contemporaty Art
2018

3.1

3.2

3.3

Information Density and Strong Correlations draw upon my experience as a competitive weightlifter and coach. It presents weightlifting movements, equipment, and competition results through felt sculpture, data visualization, performative drawing, and digital fabrication. While maintaining fuzzy borders between information, mark-making, visualization and metaphor, this project addresses the sport of weightlifting as a practice in which fleshy, complicated, physical bodies are intimately connected to data sets and analysis. The work is both a celebration of powerful bodies a reflection on the ways in which we collect and represent the rapidly increasing volume of personal information that technology enables.

Flying Machines
2018

Lorem Ipsum...

Flying Machines is an iterative computer program made in Processing that generates endless variations on a wing form within a given set of parameters. The original structure of the wing is drawn from a Leonardo da Vinci flying machine sketch. By varying its proportions, curves, oscillations and structural density, the program can generate a range of forms from birds to bats, butterflies to pterodactyls, and man-made gliders to genetic mutants. The work is a reflection on human curiosity and its implications for art, science, nature and technology. The prints are archival ink on cotton rag, produced on a pen plotter.

Top