Morgan Overton gracefully moved through her newly opened art gallery, warmly greeting visitors during the grand opening celebration. The 31-year-old artist carried herself with a diplomatic stance and confident presence that reflected her ballet background, creating an atmosphere where guests naturally lingered and engaged with her vibrant artwork.
The Penn Hills native launched the Morgan Overton Art Gallery & Shop inside Lawrenceville Market House at the end of October, a venture that began through a chance encounter while visiting a friend's jewelry business in the co-retail space. As a visual artist since childhood, Overton understands that navigating the art world is not a linear journey but rather one that ebbs and flows with opportunities and challenges.
"If a piece of my artwork or just engaging with me about my art stops someone in their tracks and causes them to think with more intention or feel motivated to be changemakers in their own right, that is ultimately what I want," Overton explained about her artistic mission.
A transformative turning point came this past summer when Overton participated in an artist residency program at the School of Visual Arts in New York City. The experience provided her with endless time to perfect her craft while having access to galleries, museums, exhibitions, and solo shows that fueled her inspiration. She described the energy as "generative," responding with passionate enthusiasm when discussing the ideas that emerged from her time at SVA.
"I was able to go into a whole new domain and level with my artistic expression," Overton said. Returning to Pittsburgh, she focused on building upon the momentum that started in New York, channeling her newfound artistic energy into establishing her own gallery space.
Much of Overton's work stems from extensive genealogy research, as she delves into family history and archives to piece together oral histories. For many Black Americans, genealogy remains fractured due to the transatlantic slave trade, often leaving only fragments of information accessible to descendants. "So a lot of us are walking around with, like fragmented shadows behind us... the who and the what and the names," Overton reflected.
Through meticulous research in old newspapers and archives, she discovered articles about her great-great-grandfather, G. Harry Bolden, a well-known baritone singer from the Hill District who moved to Harlem during the Harlem Renaissance. This discovery made her journey to New York feel deeply aligned with her family's artistic legacy. "I almost felt like I was following his path, being in New York and being able to express my creative self fully," she said.
Overton has created dedicated pieces honoring Bolden, as well as works celebrating Ella Louise Clark Williams, her maternal great-great-grandmother, and Frances Williams, her grandmother whom she never had the chance to meet. Her newer work explores Afro-Futurism, a movement that combines art, science, and technology to reinterpret stories of the African diaspora while envisioning a future where Black people thrive.
One of her recent paintings depicts matriarchs of the future representing love and humanity. During open studios near the end of her New York residency, people from diverse backgrounds connected with her work, reflecting on immigration stories, family histories, and their own humanity. This universal resonance reinforced Overton's belief that while she centers Black figures in her art, anyone should be able to see themselves in her work.
The artist has actively collaborated with local organizations, including fundraising efforts for JADA House International, a Hazelwood-based organization supporting people of all ages with social and spiritual challenges. During the gallery's grand opening, JADA House International founder and executive director Terri Shields purchased a piece for her office to complement another work by Overton.
Overton envisions hosting workshops for both artists and non-artists, creating spaces for cultural healing, free expression, and creativity. "I just believe that this will be the balm or a contributing balm in this time where everything feels so contentious and at times dark... What are those glimmers of light in our community? That is what I want the gallery to be overall," she explained.
The gallery represents what Overton calls a "third space" – a place for people to gather outside their homes and workplaces. Despite Pittsburgh's artistic legacy, she acknowledges challenges facing local artists. "We are an artsy city. We have a legacy of arts here, but there are moments where it feels like a concrete ceiling," Overton observed.
She has witnessed career stagnancy among Pittsburgh artists, both individually and collectively. "I talked to a lot of artists who say, 'I look forward to the day I can say I left Pittsburgh,' and this is coming from native Pittsburghers. I don't want to be enticed with the thought of leaving every other month in order to live out my gifts and talents," she said, noting that Black and brown artists face particularly unique navigation challenges in the city.
Aaron Stuckey, Overton's boyfriend and a Penn Hills resident, expressed satisfaction with the gallery opening's turnout, noting it represents "only a taste of what she has planned." He emphasized how the gallery showcases local capabilities and motivates other entrepreneurs to feel more confident about their endeavors. Among his collection of Overton's pieces, his favorite depicts Roberto Clemente, the Pirates Hall of Fame right-fielder.
Longtime friend Christopher Paul of Shadyside, who has known Overton since high school, praised the gallery as "a cool extension of her purpose," having witnessed her entire career from college through community activism. David DeBor, also of Shadyside, described the gallery as "a cool pop of culture right in the middle of the city," expressing that Pittsburgh is fortunate to have this new cultural addition.
The gallery's design reflects Overton's intentional curation to create a refreshing, different, and encouraging atmosphere. When she first entered the space, she was drawn to a gorgeous emerald and gold wall left by the previous business, which gave her the Harlem Renaissance energy she had been subconsciously seeking. The opposite wall maintains the classic white art gallery aesthetic, creating an interesting visual contrast.
In addition to Overton's original artwork, the gallery offers retail items along the emerald wall, allowing patrons to experience her art at various price points – from magnets and t-shirts to prints that can begin someone's journey as an art collector. This accessibility aligns with her goal of making art available to diverse audiences.
Overton, who holds undergraduate and master's degrees from the University of Pittsburgh, previously worked in the political sector as the first Black woman to serve as vice chair of the Allegheny County Democratic Committee. While no longer actively involved in politics, she considers an artist's practice inherently political, focused on "uplifting the humanity of those who this country is trying to silence right now."
As a fifth-generation Pittsburgher, Overton's first encounter with art came through her creative parents. A photograph shows her playing piano on her father's lap before her first birthday, leading her to declare, "I have been an artist ever since I could blink." As a first-generation college graduate achieving various milestones without a blueprint to follow, she sees herself creating the path for future generations through faith, determination, conviction, and standing on the shoulders of those who came before her.
The Morgan Overton Art Gallery & Shop, located at 4112 Butler Street in Lawrenceville, operates Thursday and Friday from noon to 5 p.m., Saturday from 10 a.m. to 5 p.m., and Sunday from noon to 4 p.m. The gallery represents not just a business venture but a cultural beacon aimed at fostering community connection and artistic expression in Pittsburgh's evolving creative landscape.
