Meghan Petras Studio Visit September 16th 2009

Meghan Petras (website)
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Grace Teng
x-painting
ferns

The conversation with Meghan Petras took place at a space in Chelsea where she recently hung a small solo show. All of the works were part of a body of work created within the course of a few weeks keeping in mind the space in which they would be exhibited. The works in the exhibition were chosen from a larger group of small oil paintings connected by the time frame in which they were made, their media and subject matter. Meghan described this group of paintings as a reaction to periphery subject matter and related them to human interactions with nature. Many of the works were referential, with each ruminating on different flora and fauna while experimenting with the medium of oil paint.

Looking at a diptych of puppies wearing top hats and a flattened plane of roses sketched radially, the group discussed kitsch in relation to the imagery, invention, and handling of materials within the paintings. The point at which the work transcends kitsch and where it butts heads with taste was an area of contention within the group conversation.  Whether the most abstract or non-referential piece in the show was out of place or whether it held the other work together was also debated.

Though she has been making 2-D images for the past few years, Meghan’s background and training is in sculpture. We discussed the difference between practices and the challenges of painting from a sculptural stand-point.

-Amanda Lechner

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1 Response to “Meghan Petras Studio Visit September 16th 2009”


  1. 1 Amanda September 24, 2009 at 2:55 pm

    The conversation with Meghan Petras took place at the space where she recently hung a small solo show. All of the works are part of a body of work created within the course of a few weeks and knowing the space where they would be exhibited. The works in the exhibition were chosen from a larger group of small oil paintings connected by the time frame in which they were made, their media and subject matter. Meghan describes this group of paintings as a reaction to periphery and related to human interaction with nature. Many of the works are referential, each a different rumination on flora and fauna and an experiment with the medium of oil paint.

    Looking at a diptych of top hat wearing puppies and a plane of radially sketched roses, the group discussed kitsch in relation to the imagery, invention and handling of the paintings. Where the work transcends kitsch and where it butts heads with taste was an area of contention within the group conversation. We also debated whether the most abstract or non-referential appearing piece in the show was out of place or whether it held the other work together.

    Though she has been making 2D images for the past few years, Meghan’s background and training is in sculpture. We discussed the differences of the practices and the challenges of painting from a sculptural stand point. (we also heard some jokes on this topic)

    I look forward to seeing what further work may come from this speedy body of paintings!


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