The Holy and Obscene – Analog Artist Digital World

I have 7 large format prints on display at the Orlando Public Library downtown (101 E Central Blvd Orlando FL). The show was hung on New Year’s Eve and will be on display through February. The prints are on the ground floor just past the book checkout counters to the right. Hanging the work was an adventure in itself.

I originally threw 8 prints into the back seat of my car and secured them with the seat belt and a bungee chord. I was told that a parking spot was reserved for me behind the library in the loading dock area. Unfortunately all those spaces were full, so I parked in the loading dock itself. The entry to the mail room was through those large plastic strips you might find in a meat locker. I tried to keep the strips from slapping the frames. Calls had to be made before I could enter the library through two locked doors. I was offered help bringing the framed pieces inside, two at a time. With the help, we only had to make two trips to my car. Once the pieces were inside I was told I would have to move my car. There was metered parking nearby, but instead I drove about half a mile away to get some free suburban parking.

On the long hike back to the library I started thinking about one of the prints. The sketch in question had been done at the opening of Morgan Wilson‘s first one woman show at Falcon Bar and Gallery. Her work in the show titled The Holy and Obscene, was sensual, edgy and surreal. She has an amazing ability to capture the female form while making you think about America’s prudish views about sexuality. The fact that I documented her opening made me a bit deviant by association.

The same print had hung in the Winter Park Chambers for several months along with about 25 other framed origin sketches. When that show came down, I was told that The Holy and Obscene piece had been taken down half a through the run of the show because a commissioner noticed the F-Bomb written on a woman’s tiara. I decided that I might have to open the frame and cut a Post-it note and cover the tiara. Jessica Earley is an artist who also works at the library, and I figured she might be willing to help with the edit. As luck would have it, there was a Post-it in my pocket.

When I finally got back to the library, the piece I had been debating about was turned to the wall. I walked up behind two staff members who where discussing the piece. They didn’t even mention the F-Bomb. What they had noticed was a male phallus. I didn’t even remember drawing a phallus. I imagined the infamous hidden tower in Disney’s Little Mermaid poster. I took a second look, and sure enough, there it was, flaccid, small and Morgan was shooting a cell phone photo of it.

When Michelangelo painted the Sistine Chapel, he painted the monumental figures naked. After his death, an unknown artist was hired to paint thin fabric over the exposed men. In one fresco next to the alter, Michelangelo depicted Saint Peter willingly offered himself as a martyr. He was nude as both heroes and the humble were depicted, because
he was naked before God. The frescoes were renovated over a 20 year period and in 1994 the Chapel was re-opened. The restorers left the flimsy fabric censorship in place opening an ongoing debate in the art community.

Now I’m wondering if I should have edited Morgan’s work as it was depicted in my sketch. I drew a phallus without a second thought and yet it means that the sketch can never be exhibited publicly in Orlando. As an artist I have sketched hundreds of different nude models in figure drawing classes over the years. The naked human form is something I celebrate. I do, however understand and respect the Library’s policy. For that reason, I decided not to start placing Post-it notes all over the sketch. Instead, I quietly removed the forbidden art from public view.

Across from the men’s room, Martha Merritt was exhibiting mirrors framed with hundreds of shells. She showed me one framed aquatic skeleton that resembled a creature from outer space. Hidden within the structure she pointed out the shape of a crucifixion cross. She went on to explain that sand dollars have religious significance because they have 5 teeth that resemble holy doves. I found it fascinating that there could be so much hidden religious significance in shells. The day was a lesson in the Holy and Obscene. I still absolutely love Morgan’s paintings. She pokes fun at a society that celebrates its guns but hides sensuality. If you happen to stop by the library be sure to check out the shells for a taste of the holy, and then see my prints if you dare. You might want to bring along some Post-it notes just in case.

On my drive to The Falcon (819 E. Washington Street, Suite 2, Orlando, Fl), the skies to the north loomed ominous with lightning flashes and low rumbling thunder. I was on my way to see the first solo show of Morgan Wilson. I’ve seen Morgan’s work a number of times around town, and I’ve seen her paint. This show was appropriately titled “The Holy and Obscene“. Morgan paints beautiful women but each piece has a dark and sensual subplot. I admire the chances she takes by focusing on themes far astride of what is often seen in this homogeneous white bread theme park town. Tod Caviness who was at the bar with his wife Christin, bought me a beer, a Spitzen Oktoberfest brew that quickly went to my head. I hope they weren’t insulted by the fact that I immediately wandered off to sketch.

I met Blair Richardson, a dear friend of the artist, who was the model for the center painting in this sketch. She confided that Morgan had asked to take pictures of her. When Blair asked what the photos were for, Morgan explained that it was a surprise. When Blair walked into the exhibition, tears welled up in her eyes when she saw the painting. A crown of thick nails were driven into the painting. Morgan was humbled to know that her work could elicit such a strong emotional response. She then joked, that maybe her friend was just vain. I doubt that. Each painting was in an intricate frame that accentuated the sensuality.

As I sketched, the exhibit became increasingly crowded. The Falcon barista, Wendy Claitor let me know that Melissa Schumann, the owner of the Falcon said that my beers were on the house. Well heck, I’ll have another then! I needed to refill my water brush, so I took out a vile and syringe that I use to get water in the brush handle. I like the fact that it makes me look a bit like a drug addict. I’ve done this a thousand times, but this time, I misjudged and pulled on the syringe plunger too hard. It popped loose sending the pink plastic bottle crashing to the floor and water sprayed everywhere soaking my sketch and pants. Artist Janae Corrado helped me recover the bottle and all the pencils that fell off my lap when I jumped up in surprise. Janae remarked that, “At least the beer didn’t spill!” I really shouldn’t drink and draw. I’m such a lush.

A red dot was placed under the round painting of a woman with a gold tiara that said “Fuck“. Another painting was of one of the Yow Dancers all in blue with golden armor. A huge slug mounted a nude woman on all fours. Morgan posed for photos and discussed her work with patrons. Two guys seated next to me where discussing Morgan’s work. She had decided to work on a sketch at a table outside and one of the men went out to watch her. When he returned, he said you can learn much about an artist by seeing how they work. He was fascinated by Morgan claiming she was more interesting than her paintings. I can’t imagine why anyone would want to separate the two. He felt that many of the paintings resembled the artist. Apparently a painting of a woman with a ruffled collar had to be reworked multiple times because Morgan kept painting the penis too big. The guys joked that she needed to paint many more cocks till she got it right.

Morgan explained, “I tried to avoid being too ‘preachy’ with the theme, but there’s definitely some undertones of religion and royalty! My work is meant to create a meeting place for the elevated and degraded, the holy and obscene. My most recognizable theme, through all mediums, is a pervasive sexuality. At times subtle and sensual, there is always a lurking secret begging to be discovered by my viewers, the incidental voyeurs. Peering into a world meant to mirror every dark velvety desire, even those unrealized or unimagined. I aim to remind the viewer that desire and despair are not deep-buried things: they exist in every detail of who we are. In a way, the things we love and fear are what make us more than simply human.”

Mark your Calendar! Morgan’s work is on display at the Falcon through September 26th. I’m a huge fan of this woman’s work. Don’t miss it.