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I am fascinated by the human need to construct meaningful order in a world filled with too much information. In making complex images which suggest many forms but resist naming, my work focusses attention on embodied perception and on that ordering intelligence which precedes and exceeds the limits of language.
At the core of this interest is a love for one deeply familiar landscape refreshed and illuminated by adventures in radically
unfamiliar ones; and a profound concern for the frequent dislocation of human culture from its place on a wild earth.
It is my practice to spend time in wild places, both imaginal and real, paying attention to my habits of organizing experience—how my body tries to scale the unfamiliar to the familiar measure of itself, my vision to squeeze the unknown into templates of the known, and my mind to make orderly maps of each new world along the familiar axes of the old and ignore the bits that just don’t fit.
My images are new worlds unmoored in space and impossible to narrate. They are made of chance accumulations and abrasions of paint, each layer contributing new information and each leaving its trace. I seek to make order in these new worlds by grouping and sorting all the bits, intensifying or sublimating each color and form until everything fits.
That each new painting emerges from the same chaotic conditions speaks to me of the unpredictable complexity and instability of meaningful order in the world, but also of the inevitable, if temporary, moment of finding it.
Meg
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