In Disintegrants, Norris, who exhibited with Institute 193 in 2017, continues his research on portraiture, here motivated by a sense of disembodiment that emerges out of mediated images, digital information, and virtual relationships. As portrait scholar Alba Compo Rosillo points out in her essay 'Metaportraits' included in the book, Norris' paintings 'suggest the presence of selves but do not offer straightforward representations of individuals.' Norris assembles his abstracted compositions from human-made objects like sunglasses, gloves and portable speakers and tools associated with his craft, primarily stretcher bars, to make images that suggest identity as a composite of the signifiers with which we surround ourselves.
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