It is rare that an artist has the opportunity to change the history of art, let alone during their lifetime. Beginning in the 1970's when William Morris worked as Dale Chihuly's gaffer to his retirement from blowing glass in 2007, he has been a major player for over three decades in the studio glass movement. He approached the medium with a unique vision, one that wasn't dependent on solely achieving beauty. Rather Morris took glass down a different path than his predecessors, one that embraced the ability of the material to transform into wood, bone, fiber and sinew- objects that appear as if they have been unearthed as part of the archaeological record. By tapping into the psychic unity or collective unconsciousness shared among all people regardless of where or when they lived, Morris attempted to harness a universal energy. This inspiration guided his work, as he strove to create new forms that did not already exist but yet were sprung from the mindset of the specific people or cultures that captivated him. Numerous artists have attempted to follow the path laid out by Morris, but he is unique not only for his vision but the exceptional technical ability displayed by the artist and his team.
William Morris' sculpture is found in many museum collections around the world, including the Los Angeles County Museum of Art (LACMA), The Metropolitan Museum of Art (New York), Musée des Arts Decoratifs (Paris), Renwick Gallery of the National Museum of American Art, Smithsonian Institute (Washington DC), and the Victoria and Albert Museum (London).