Rebecca Morgan

Cabin Fever

April 12 – May 26, 2012

Tourist Bumpkin at Dusk

Tourist Bumpkin at Dusk, 2011

Graphite and oil on panel

12” x 9”

Prize Jugs

Prize Jugs, 2011

Graphite and oil on panel

22” x 30”

Self-Portrait (wearing...hat)

Self-Portrait (wearing dead Great Grandmother's painting hat initialed by my dead Grandfather, dead Grandmother and dead Father), 2012

Graphite and oil on panel

24” x 21”

Homecoming Picnic

Homecoming Picnic, 2012

Graphite and oil on panel

62" x 69"

Wild Woman

Wild Woman, 2012

Graphite and oil on panel

20” x 15”

I Love New York

I Love New York, 2011

Graphite and oil on panel

30” x 24”

Self-Portrait Post MFA Wearing a Smock of a Former Employer

Self-Portrait post MFA wearing a smock of a former employer, 2012

Graphite and oil on panel

20” x 16”

Steelers Fan

Steelers Fan, 2012

Graphite and oil on panel

15” x 11”

Blonde Perm Bumpkin, 2011

Graphite and oil on panel

6” x 6”

The Smoker

The Smoker, 2012

Graphite and oil on panel

26” x 22”

Hunter or Hipster, Male

Hunter or Hipster, Male, 2012

Graphite and oil on panel

26” x 22”

Self-Portrait Happy in the Woods

Self Portrait, Happy in the Woods, 2011

Ink and gouache on paper

8” x 5”

Steelers Fan, 2011

Ink and oil on masonite

6” x 6”

Native

Native, 2011

Ink and gouache on paper

5” x 4 ½”

Holiday From New York

Holiday From New York, 2011

Graphite and oil on panel

16” x 12”

Press Release

Asya Geisberg Gallery is pleased to present Cabin Fever, an exhibition of paintings and drawings by Rebecca Morgan.
Morgan creates a collection of characters and types, a cross between Brueghel’s stylized peasants, R. Crumb’s winking
harlots, “Deliverance”, and the inbred mutants of many a horror flick. Morgan takes her background in rural Appalachia
as the point of origin for her personae - as they become uncultured tourists, or, especially in her self-portraits, expatriate
interlopers ambivalently negotiating their depiction. Morgan’s more exotic rednecks inhabit a rural America where
people exist intimately and potently with the wilderness, a relationship which urbanites can only smirk at and envy.
Nature is either wistfully idyllic - the idyl found in a margarine ad - or the scene of demonically perverse debauchery.

Morgan’s style fluctuates between hyper-detailed naturalism, reminiscent of Dutch painters such as Memling and Van
Eyck, and cartoonish caricature, which pushes the imagery to a ridiculous, repulsive, even absurd dimension. Jagged
teeth, furry brows, corpulent bodies symbolic of sloth and over-indulgence, and a general air of dirty unkemptness all
exploit the demonization of the Appalachian. Internal traits come to the surface, and while Morgan exorcizes her country
folk’s demons, ridicule mixes with pride and defiant celebration. In her alternately tender and aggressive depictions of
herself, she bares all - a metaphoric exposure of her former rural character, or to prod the viewer to question their own
position.

Morgan reveres Frans Hals’ paintings of happy peasants and Adrien Brouwer’s fighting, laughing, and drunk lower
classes. Similarly, her symbolic language and character types recall Dutch parables, which were meant to both entertain
and teach a lesson to the middle- and upper-class patrons of such works. Morgan plays an intricate game of backand-
forth accusations: she panders to the same stereotypes that she herself contends with, and in a modern twist,
acknowledges that she is laughing at the subject, the viewer, and our contemporary conflict of pining for a pre-cultural
back-to-the-land utopia while sipping our Starbucks.