There is no face, no symbol, no pronouncement in her work. She is at the opposite of formalism. Subject is everywhere present in her work through its apparent absence. It is craving for the presence of those who are absent and it is full of fear of a distressing solitude.

Morgan's work is tensely waiting for the other; it is an invitation to the encounter which alone can stop time, subordinate it to space, reconcile travel and intimacy. Social thought is awakening again after two decades of structuralist sleep. Structuralism eliminated subject, proved the impossibility and non-existence of action; denunciation replaced hope. Morgan works exactly when, at the end of this long winter, the ice breaks, when movement, desire, words, hope and fear appear again; when we take control of time and space, categories of action.

Morgan creates, after Baudelaire, a new Invitation au Voyage. After a long time of confinement in a meaningless universe she rediscovers with us seas, dreams, absent loves. Her works are full of anxiety and confidence. They are a clear and gentle call for friendship and closeness. Her consciousness is constantly awake, not to protect itself with principles and certainties, but to locate on the high seas, from the end of the pier, the ship which brings into port the face of an unknown brother.