exhibitions

Initially exhibited in The Channel Islands, 'Maid' soon moved to the capital, shown at Zetland House Gallery, London in 2004 and is due to move again to The Glasshouse, Edinburgh in February 2005.

'Maid' is a collaborative body of work undertaken with Jersey based artist Karen Allenet. Karen and Morgan are a Brother & Sister Team who returned to the disused Pontin's Holiday Camp in Jersey, where they both once worked in 1986 - photographing and delivering a memory of a "living space" in connection to the reality of a "derelict space" within a contemporary landscape.

During the past 5 years, Morgan has developed a multi-layered, definitive style; culminating in his current sequential, narrative images "Maid". The work is striking on a formalistic level with dynamic compositions, incorporating diagonals of shiny chrome, hard and cold in comparison to the soft curves and warm tones of the "Maid". Hints of a contemporary 'Retro' fashion shoot spring to mind. Sensitive manipulation of colour, light and shade sharpen awareness of objectivity within the confines of the pictorial space. The Modernist architectural setting Morgan reveals, was considered to be a "posh" Pontin's holiday camp during the '80s, as "you had to fly or get the Ferry to Jersey". On a more subliminal level; the signs and signifiers within the sequences will be as varied as the viewers' own cultural vein of visual and experiential reference. The photographs may appeal on a nostalgic level but also serve as an important record of a declining leisure industry. Morgan's photography invokes a memory of a once vibrant space, which has become derelict and deserted. Reminiscences accompany a sense of absence and loss. Images as a visual metaphor of a disappearing world, however, the Maid may be glimpsed as part of the sub-culture of the oppressed, subordination of women in this traditional, feminine role. Alternatively she may be viewed in a seductive, voyeuristic fashion by the "male gaze". Stolen moments of pleasure. Morgan acknowledges the influence of the work of Tom Wood. The similarities are obvious, both in sparking off ideas through constructing carefully considered images and creating the freedom to explore the avant-garde. Morgan's work exhibits both a technical and artistic integrity, a refreshing new approach.

Carol Wedgewood - Lecturer in Critical Studies, Leeds Metropolitan University.

SALTBURN PIER The most northerly surviving British Pier and the last remaining in Yorkshire, the history of Saltburn Pier tells a remarkable tale of a man made structure defying the elements. Built in an exposed position and facing due north into the unforgiving North Sea, the pier in the little resort of Saltburn was commissioned by the Saltburn Pier Company in 1867. Designed by Mr J Anderson the pier was completed two years later, opening in May 1869. Built to a length of 1,400ft (424m) the pier consisted of iron trestles under a wooden deck. There was a steamer landing stage at the head and two circular kiosks, used as office accommodation at the entrance. The piers first encounter with the wrath of nature was to come in 1874 and 1875 when the landing stage and part of the pier itself were lost in violent storms. The pier re-opened in 1877 but by 1880 the piers once proud owners were looking to sell the structure. Under new ownership the pier saw a revival in fortunes. It was restored to a length of 1,250ft (379m) and windshields, a bandstand, and refreshment rooms were added. The company also arranged for the repair of the Cliff Lift, allowing visitors much easier access to the pier. Further storm damage occurred in 1900 to the pier-head, and in May 1924 the 'Ovenbeg' collided with the West Side of the structure ripping out a considerable amount of the deck. As the bandstand was now inaccessible a theatre was built at the shoreward end in 1925. The damage caused by the collision was finally repaired, five years later, in 1930. Purchased by the local council in 1938, Saltburn Pier along with other East Coast piers was sectioned in 1940 for fear of German invasion. Re-built at a cost of £20,000 repair work commenced shortly after the cessation of hostilities in 1947, opening to the public in April 1952. The following year a severe gale badly twisted the whole structure necessitating repairs estimated at £23,000. These were to take a further five years to complete and no sooner had the pier reopened, two piles were lost at the seaward end costing a further £6,000 to replace. Worse was to follow in 1961 when some twenty piles were badly twisted in another exceptional storm. The 1970's were not going to see any let-up in Saltburn Pier's turbulent history. In 1971, 1973 and 1974 piles were lost at the seaward end leaving the pier in a dangerous state. As emergency plans were being drawn up to save the pier a severe gale on 29th October 1974 washed away the pier-head and left the remainder of the neck in a much-weakened state. Finally the local council had had enough, in 1975 they submitted an application to the Department of the Environment, to have the pier demolished. Against the odds Saltburn Pier survived yet again when a public enquiry concluded that only the last thirteen trestles should be removed and the remainder of the structure should be restored. The pier, now reduced in length to 681ft (206m), was restored, reopening to the public on 29th June 1978 after a closure of five years. A new restaurant in the entrance building was opened the following year. Further restoration work was carried in the early 1990's when the entrance-building roof was renewed using Welsh Slate in keeping with its original appearance earlier in the century.

An installation comprising of six images inspired by past choices and decisions made whilst working and travelling.

Karen Allenet, who has lived in the Island for 25 years, and her brother, professional photographer Morgan O’Driscoll, have spent a year preparing the work, which has involved over 120 hours’ shooting. Explaining the inspiration behind the series of photographs, Karen said: ‘Stage is the second collaborative exhibition we’ve prepared revealing and delivering past experiences, emotions and encounters. It follows Maid – a series of pictures stemming from our time working for Pontin’s Holiday Camp – which have since been on display at Zetland House Gallery, London.

Supported by Connex Transport Jersey Ltd and Jersey Arts Trust, the display follows last year’s Poetry on the Buses project, and reflects Connex’s commitment to supporting community initiatives. Philippe Julhes, Managing Director, Connex Transport Jersey Ltd, said: ‘Connex is delighted to be able to support this project, which is believed to be the first time that a bus in Jersey has been used as a display vehicle for an art exhibition. I hope that passengers and other users of the Weighbridge will enjoy looking at, and interpreting, these pictures.’Commenting on the pictures, Chris Clifford, Director of Jersey Arts Trust said: ‘By using a bus ride as the theme for the pictures, and a bus itself for the actual display of the work, the exhibition is a metaphor for the journey of life, through which we can begin to understand more about the stages in the artist’s life, typically dramatised through the plight of the individual characters.’

A collaborative project with Bonita Belton.

Securing a two year exhibition deal documenting and publicising the work of the International Indian Film Academy (IIFA) led Morgan and Bonita to India where they photographed and documented Famous Studios based in Mumbai.

Exhibited at the National Media Museum, Bradford.

The project has given an insight into the Indian culture, looking at people, places and stars from modern Indian cinema whilst leaving a lasting legacy for years to come.

Special thanks to Yorkshire Forward for their support throughout the project.