Morison's early work (from the time she finished art school) concentrated on 'severely formalist' paintings. After taking a break from exhibiting, in the mid 1980s Morison returned with a series of complex and ambitious works which became signatures in her career. Large multi-part works such as Vademecum (1986) and Golem (1987) are based on a system Morison created based on the number 10, referencing the Sefirothic Tree of Kabbalah and using ten 'logos' and ten key materials ('transparency', gold, silver, 'iridescence', lead, mercury or mercuric-oxide, clay, ash, blood, excrement), in various combinations. These systems continue to inform much of the artist's work. This system has informed a great many of her paintings and installation works, and she continues to work with replicating forms (like the Celtic knot) and organising principles (like Victorian myriorama).
