Crease Folds

A pocket-sized artist's book by the British-American painter and filmmaker Sarah Morris (b. 1967), Crease Folds chronicles, in reality and in fiction, the period in which she made the film Strange Magic (2014).

Strange Magic surveys the Louis Vuitton empire's production of luxury goods (fashion, fragrance, champagne, architecture) as the capital source behind the Frank Gehry-designed Fondation Louis Vuitton, deconstructing the mechanisms of that cultural currency and the fantasy inherent in luxury itself. For the book, Morris juxtaposed this making-of material with an invented counterpart: after meeting the Oscar-winning Pulp Fiction screenwriter Roger Avary at the 2012 Locarno Film Festival, where an homage to her films was presented, she asked him to write a fictional text about her. The 120-page softcover, edited by the artist and published by Ivorypress LiberArs, Madrid, in 2015, sets fiction and fantasy against the record of an artwork's production.

Morris's paintings and city films (Paris, Rio, Beijing) trace the codes of social space and power. Her work is held by MoMA, Tate, and the Centre Pompidou she is represented by White Cube, Capitain Petzel, and Air de Paris. The library also holds the EMMA – Espoo Museum of Modern Art catalog of her 2017–18 retrospective.