Rebecca Morgan

In The Pines

September 10 – October 29, 2016

Mountain Man Painter

Mountain Man Painter, 2016

Graphite on paper

83.5” x 62”

After Work Sunset, 2016

Oil and graphite on panel

10” x 8”

Family Reunion

Family Reunion, 2016

Oil and graphite on panel

24” x 30”

Amateur Painter from Out of Town, 2016

Oil and graphite on panel

8” x 6”

Runaway bride/groom, 2016

Oil and graphite on panel

20” x 22”

Plan B on Easter Sunday, 2016

Oil and graphite on panel

10” x 8”

Cinnabun in Bed, 2016

Oil and graphite on panel

20” x 24”

Corncob Smoker, 2016

Oil and graphite on panel

12” x 9”

Light Blonde Girl, 2016

Oil and graphite on panel

7” x 5”

Creeper in the Grass, 2016

Oil and graphite on panel

15” x 18”

Sweet Country Bumpkin, 2016

Oil and graphite on panel

10” x 9”

Granny Huffer

Granny Huffer, 2015

Oil and graphite on panel

10” x 8”

Cobalt Jug

Cobalt Jug, 2015

Salt-glazed porcelain

7.5" x 4.5" x 6"

Pastel Jug

Pastel Jug, 2016


5” x 5” x 7”

Pajama Jug

Pajama Jug, 2015

Raku ware

6.75” x 4.5” x 5”

Mono Jug

Mono Jug, 2016


6.5" x 3.75" x 4"


Eric Party Jug

Eric Party Jug, 2015


5” x 5” x 4.5”

Watershed Jug

Watershed Jug, 2015

Salt glazed stoneware

9.5” x 6” x 7”

Dalmatian Jug

Dalmatian Jug, 2015


6” x 5.5” x 5”


Maine Jug

Maine Jug, 2015

Raku ware

9” x 5.5” X 6.5”

Blue Ribbon Girl

Blue Ribbon Girl, 2016

Watercolor on paper

10.75” x 8.5”

Wandering Smoker

Wandering Smoker, 2016

Graphite on paper

10” x 8.5”

In the Pines, 2016

Watercolor and ink on paper

6.25” x 5”

Daisy Pin'd Old Maid, 2016

Watercolor on paper

8” x 5”

Press Release

Asya Geisberg Gallery is proud to present "In The Pines", an exhibition of paintings, ceramics, and works on paper by Rebecca Morgan. "In The Pines" presents a tapestry of hyperbolic representations and provocative stereotypes that point to abject aspects of contemporary country life and earlier romanticized tropes of rural Americana. While the artist's third solo exhibition retains the diaristic backbone of her anxieties, indulgences and dreams, Morgan enriches her palette of archetypal characters with allegorical scenes. Morgan's titular environment alludes to a place unencumbered by social norms and prying eyes, symbolizing a psychological and symbolic retreat to indulge in debauchery.
Morgan frames her detailed style between outsider art, Northern Renaissance draftsmanship, and caricature, and draws from the tradition of Goya, Mad Magazine, and R. Crumb, injecting brutal satire and uncanny humor to confront squeamish narrative truths. "Cinnabun in Bed" is perhaps the nearest approximation of this transformation of Morgan's personal rituals. We see a comically grotesque anatomically impossible figure, in an emotional nadir that we have all experienced: indulging in "junk food" at our lowest moments, bathing in self-pity. As with all good drama, specificity of the individual 's experience increases the universality of appeal. Similarly, "Plan B on Easter Sunday" conflates the gesture of taking a Communion wafer with a contraceptive pill, the Madonna/whore complex writ small.
Morgan's neighbors and environs become parables and cautionary tales of country life for a knowing urban audience, a tactic much like the Dutch artists she so admires, from Brueghel to Hals. Honed with her classical rendering, each character reveals traces of Appalachian oral traditions, or of the exaggerated "types" from Beverly Hillbillies, the musical Oklahoma!, L'il Abner, and other popular representations of bumpkins and yokels. Using classical Greek sculpture as underlying poses, Morgan slyly creates her own pantheon of cultural signifiers of rednecks and hillbillies, Daisy Maes, dandies playing at farmers, Sunday painters, and innocent rubes. For instance, the painting "Family Reunion" shows a heavily caricatured trio that also look utterly familiar, while the ants, flowers and other memento mori show Morgan's harking back to the Dutch still life.
Morgan's ceramic face jugs have been a growing part of her semi-fictional world. Reclaiming the vernacular art forms prevalent in her region, the jugs also function as hyper-detailed pimply portraits of blissful ignorance, or perhaps self-acceptance. Experimenting with raku, a fire-based technique, suggests an alchemy that could be straight from Morgan's witches and mountain men up to no good. Morgan's face jugs express an intangible reverence for American pastoral traditions that, like all her work, shines through in the complexity of the artist's many points of view.