Kim Morgan is a Canadian sculpture and installation artist based in Nova Scotia, and a faculty member of Nova Scotia College of Art and Design University (NSCAD). Working with a wide range of materials, technologies and techniques from varying disciplines, Morgan explores "how we produce and negotiate the spaces we live in, how we move through them, and how this affect individual and collective identities." Morgan's examination of how we perceive time and space is the backbone of her art practice. Biography Born in Saskatoon, Saskatchewan, Morgan first earned a BA in English Literature from McGill University, then moving on to earn a BFA from the School of Visual Arts, New York City, with a focus on sculpture. Morgan continued her fine art education at the University of Regina (MFA), again focusing on sculpture and additionally installation work. Art More recently, Morgan has been working in interdisciplinary collaborations to create several public art projects. Using her public art projects to create "active cultural and social spaces", with the intent that the work will act as an impetus for dialogue about current issues. Morgan's work has been exhibited in the United States, Canada, and in Europe. Some of her more recent awards include the Presidents Award of Excellence (2012), the Lieutenant Governor of Nova Scotia's Masterwork Award (2012), and the upcoming Rauschenberg Residency through the Rauschenberg Foundation (2014). In 2012, Morgan created the piece Range Light (2010) for inclusion in the Oh, Canada. As an antiquated technology, range lights and light houses were once used to assist ships in their navigational courses. In Range Light, Morgan created a tribute to this dying technology by replicating a full size lighthouse in latex. The piece was exhibited in October 2010 and continues to be exhibited in Oh Canada, on display at MASS MoCA. Window (Dis)Plays: Reality Shopping (2009) is a concept piece for the book Public Art in Canada: Critical Perspectives. The work consists of a time-based video public performance. Video of the activities of shoppers was captured during the day by video surveillance cameras, and at night a randomly selected portion of the video is projected onto the exterior windows of the store. The work considers the use of collected data (video and photographs) that is used for market research and is not accessible to the public—the relationship between public consumerism and private corporate data collecting. Exhibitions Morgan has had a number