New York

Donald Roller Wilson

Coe Kerr Gallery

Picture a large and serious ape (Beverly) in a royal red dress befitting a queen, furred and jeweled crown on her head, one hand holding a wet and juicy green pepper stuffed with thoroughly foul matter—go on, use your imagination—the other clutching a worried bulldog in a white dress (Jane). In the background, a heavy fringed drapery, pulled aside like a curtain, allows the viewer to peek into a lush, dark forest. Across the top of the canvas in small neat print: “DONALD ROLLER WILSON • 1991 • BEVERLY • HOLDING JANE • WHO WOULDN’T TOUCH HER LUNCH • WHO LATER ESCAPED TO SANIBEL ISLAND WHERE SHE (ALONG WITH CHARLOTTE) DID JUST FINE •”

Welcome to the world of Donald Roller Wilson, a world in which Beatrix Potter’s Tom Kittens and Puddleducks might well take tea with the highly individualistic, religious, and often nearly hallucinatory folk that populate Flannery O’Connor’s fiction. These 16

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