For instance in one Self-Portraithe appears in a sheet black top, with heavy black eyeliner, and pink lipstick, with his mouth pursed to a kiss. These objects of all shapes and sizes make their way to Morgan's studio and are reassigned meaning by the artist, assembled into the massive altar in the living room, piled in the bedroom, or tacked onto a work in progress. That many of these assemblages of people whose experiences were similarly marginalized — like the teenaged drug addict that Morgan cared for and whose nightmare forms the basis of The Island of Lost Souls — and that Morgan himself has felt marginalized in similar ways imbues the sculptures with a particular kind of powerful resonance. As such, he is queering the conventions of gender performance, embracing elements of both masculinity and femininity in a way that celebrates deviation from heteronormative and patriarchal conventions of sex and gender. Some appear to have a more clearly Hindu iconography, like the allusion to Shiva in The Horned Toad, and others involve the hybridization of multiple religious traditions like in Pangaea. Blessed with a strong sense of curiosity and a perverse Midas touch, Morgan was able to turn those banal objects into works of art through a complex method of assemblage and adornment.
Donohue provides a further introduction on the film's Kickstarter page:
“Pangaea” at City Gallery, Lexington
For example, both artists explore issues of queerness and sexual difference in their works. It is garbage, junk, trash, detritus, personal, anonymous and all but completely forgotten. As a show, Pangaea, thereforefunctions in opposition to the supercontinent from which it gets its name; while the landmass dissipated creating cultural and ecological divisions that have marked humanity since our emergence as a species, the exhibition ultimately unites distinct individuals and shows the shared nature of their art and lives in so doing. Morgan's work literally recycles and repurposes trash, but more importantly, it recycles memories, experiences, and stories that would have otherwise been thrown away. Donohue explains in her biographical statement for the Media Working Group where she serves as President that her films are concerned with "art, spirituality, the land, earth-centered consciousness and what it means to be human in relation to the natural world," and also with "women, gay culture and their relationship to society. Misquoting, repurposing, and reinventing are the tools that drive Morgan's creative process.
Donohue's interview with Lucy Jones. Objects are wrapped, glued, and nailed together -infused with religious and personal iconography- and then covered in a thick layer of polyurethane making them glisten and shine like glass. These objects of all shapes and sizes make their way to Morgan's studio and are reassigned meaning by the artist, assembled into the massive altar in the living room, piled in the bedroom, or tacked onto a work in progress. Smith has also called upon religious symbolism in his depictions of skulls, both in portraits, like the one held by Pablo and on their own. The most recent incarnation of Morgan's accumulative process manifests itself in the form of a small army. He has been making art out of found objects for as long as he can remember.