Megan's practice explores the immediate process of painting, creating a dialogue between colour combinations, mark making, and light. Inspired by natural forms and movement in landscapes, she paints from her own photography to resemble these elements within the context of abstraction. Her work is a balance of these abstract and figurative elements, which evolve into forms that are familiar to the audience. She is interested in exploring how mark making and colour can be affected by the process of layering paint, both transparently and opaquely, on sheer surfaces. The marks are evocative of vibrations and unique sequences found in nature and the space of environments. She embraces repetition whilst practicing singularity and looks at the physicality of paint and its ability to transform when applied into transparent, illusory surfaces. The process involves the act of laying down marks and taking them away. The physicality of the paint, and the journey of creating the paintings, become key components of the work.
She experiments with the appearance of light travelling through forms and shapes to resemble the organic elements she observes in her photography. The painted forms are the result of the interaction of her actions and the fluidity of paint being applied, using both traditional and unconventional tools. The process is a tension between involvedness and restraint, altering the way the paint interacts with the material. The appearance of the organic entities, created using repetitive mark making, is both detailed and gestural. Through these processes, her work portrays the illusion of spatial depth and three-dimensionality, whilst being connected to the natural world.
Close up of oil paint on perspex
'In the Morning Tide' (40 x 56cm)
Paintings in the Degree Show
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