In a late-era episode of M*A*S*H titled Follies of the Living – Concerns of the Dead (Season 10: Episode 11), the viewer finds themself following the narrative of a recently deceased soldier’s ghost wandering the floors of the 4077th medical unit. As the soldier moves about, he witnesses his living counterparts engaging in silly, argumentative, and frequently inconsequential disagreements. Think: quarreling over who gets to hang clothing on a particular coat hook. The living soldiers are unaware of the utter folly of their behavior – but of course, they aren’t the ones facing imminent passage into the afterlife. It’s a gloomy episode, which ventures into Twilight Zone territory, but it is poignant in its message.

Resident artist Johnny McKee is no stranger to the heavy concepts that punctuate the M*A*S*H segment: impermanence, grief, and the complexities of existence. While watching this episode, the artist found the show’s overarching themes to be a compelling microcosm of the trivialities and absurdities that we engage in as humans. On display in the Harrison Gallery during the month of January, Follies of the Living explores these ideas in a multi-dimensional format while remaining faithful to the distinctive and enigmatic style that McKee has cultivated throughout his decades-long career.

Johnny McKee, *Used to Be*, antique photograph with acrylic

In the final arc of the M*A*S*H episode, moments before crossing over to the great beyond, the ghost looks to the living and comments that they are beginning to look funny like they are “made up of little dots.” This statement stands in haunting symmetry to the thousands of stars that illuminate McKee’s oeuvre – a visual parallel that is conspicuous in the work Used to Be. Hundreds of dotted celestial bodies paint the fabric of the sitter’s being, even constituting the matter that makes up the caliginous atmosphere of the background. The artist employs this technique in quite a few of the featured works. He additionally ventures into sculpture, woodworking, charcoal, and found objects throughout the show. This body of work fuses familiar preoccupations (cosmic motifs and moody clouds) with new and rather avant-garde ideas. The latter developing in part from McKee’s recent dive into the compositions of eccentric French pianist Erik Satie.

Johnny McKee, *Al Fredo I*, archival digital print on panel

Throughout the show, McKee introspectively considers the follies that affect his own life. When we spoke, he mused about a fly that entered his studio and wouldn’t leave. As flies do, the insect evoked more annoyance than inspiration. One day the fly flew too close to the sun and ended up submerged in the artist’s paintbrush water. While McKee initially delighted in its misfortune, his emotions quickly shifted to sympathy for the helpless animal. He fished the fly from its would-be grave and gave it a name: Al Fredo. In Al Fredo I – X, you will find a visual ode to the pesky invertebrate that moved into McKee’s studio. The works are a tangible reminder of the rather absurd and nonsensical actions that contribute to our humanity.

Follies of the Living is striking in its depth. McKee’s work has a way of conjuring emotion and query in the viewer, and this recent output is no different. Taken together, the pieces elicit wonder, complexity, whimsy, and even humor. McKee’s efforts amount to a stunning example of an artist who has found his niche. Every piece was thoughtfully created, and it is inspiring to experience his talent in person.

Follies of the Living is on display in the Harrison Gallery during the month of January. All works are available for purchase and can be viewed online through our online gallery and in-person during regular gallery hours from 9 AM - 5 PM, Monday through Friday.