Showing posts with label meghan quigley. Show all posts
Showing posts with label meghan quigley. Show all posts
Saturday, 13 April 2013
Monday, 11 February 2013
Tuesday, 13 November 2012
Monday, 12 November 2012
Special Announcement: Now selling art!
Hello you,
Payment terms:
Interested in buying a piece from me? Well, great news: YOU CAN!
I have started to sell art work through my flickr account featuring: framed and unframed work, original drawings, screen prints and oil paintings. Prices start from £1+ :)
- I accept paypal or postal orders.
- I can post worldwide. Delivery prices from as little as £2.99 (depending on the size and weight)
- All pieces will come with personal information about me, the artist and the work you are buying.
Feel free to get in touch if you fancy a quote or even just a chat! I appreciate feedback :)
Sunday, 11 November 2012
Egon Shiele and his use of line
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| Meghan Quigley |
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| Meghan Quigley |
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| Egon Schiele |
I have been making a lot of drawings recently and framing some work that I have made previously. I love Egon Schiele, and recently I have been receiving a lot of comments that our styles are similar (which I'm very happy about!) I love the contrasting use of angular sharp and curved lines to depict the human form, as well as the controversial hyper-sexualisation.
He has long since been an inspiration for my love of linear drawings and depicting the human form!
Thursday, 21 June 2012
Hello,
I will be exhibiting work at the Festival of the Erotic Arts in Edinburgh (22nd - 24th June 2012), if you are in town, please pop down and have a look! Should definitely be an experience :)
Visit: their website for further details.
Tuesday, 19 June 2012
Hello again!
I will be exhibiting film work at the ICKLE FILM FEST in Dundee (21st - 24th June 2012), you can check out their website for more details.
Wednesday, 6 June 2012
Work in progress in the studio.
Artist
statement
Meghan Quigley
My practice concerns the mediation of images and the
contextualisation of women in nature, focusing on both the production values
behind images created in the media and the throw-away nature of the magazine. I
am interested in the language used in advertising: the artificiality of staged
performance, exaggeration of the mundane, hyperbolic gesture and the indulgence
of colour and romantic ideals, in order to create a sensory experience that
immerses the viewer. My interpretation of this becomes a recorded and
exaggerated parody or un-mediated response in the video work highlighting the
absurdity through repetition and exaggeration. Removing
the body becomes an exercise in removing the historic of women in nature;
traces of the body remain and lend a haunting quality. The viewer is free to
use the space to re-imagine the scene and be transported into the mysterious,
dream-like romance. In this way, I explore and critique
notions rooted in cultural perceptions of the body such as: landscape art
historically, the ‘muse,’ the male gaze, the unidentified gaze, post-feminism
and the human condition. Female
magazines fascinate me: you can flick through the material within five minutes
and be satisfied. Piles and piles begin to collect in doctor’s waiting rooms;
issues from December 1990 linger next to May 2012 - stacked and ready to be
thumbed through by the next patient. Or they are left absentmindedly on planes
or in train stations. They are dog-eared, ripped, pages that have captured the
reader’s imagination torn out, embossed with coffee cup stains, faces scribbled
over, items circled, phone numbers jotted onto the cover, set down and
forgotten. The images are absorbed quickly and disregarded just as quick; the
text is ignored, almost irrelevant in the wake of consuming as many images as
possible and yet the reader keeps flicking.
Despite
this, the expense and effort required to create one single page in a magazine
like Vogue is overwhelming, I wanted to try and understand the absurdity behind
the creation of these images that are destined to end up in the bin or
forgotten. By examining the process of engineering the images, i attempt to catalogue and
identity the visual code required to entice the viewer. It becomes largely a precise, perfunctory process, far removed from
the alluring, romantic imagery - post production will spend hours editing each individual
pixel on their screen, even the smallest and most mundane of plants hidden in
the background is given as much weight and attention as a model.
Tuesday, 5 June 2012
Monday, 4 June 2012
Film Still
Title: Herbal Essences
Date: October 2011
Medium: Stop Motion Video
Specification: No Sound
Duration: 3.14 minutes
I was continuing to work with the Herbal Essences advert and parodying this experience. I was focusing on the long history of women in nature, (Mother Earth, supernatural, seductive pastoral imagery) the idea that the female is connected to the earth and is a part of it but as suggested, we are not plant life. We do not consist of this natural substance, it is ridiculous to view it the female body in this way and I wanted to expose this absurdity. I felt it was a subtle approach to surrealism as opposed to the more obvious routes i have been exploring.
Having been experimenting with stop motion, I felt the slow pace/jerky movements really added to the mood of the piece, making the experience uncomfortably slow and relentless. I really love the technique of stop motion and I particularly like the symbolism of using photography to create film, this piece uses over 500 images to create a single, coherent streaming video and I think this ties in with ideas of manipulation, exaggeration and authenticity of imagery/experience.
The model is stylistically over-posed, using a modelling technique known as ‘turtle necking’ which is considered elegant but is extremely uncomfortable for the model. I wanted to suggest a very meditative, controlled experience. The exposing of the neck is in reference to Man Ray’s Anatomical series as well as a suggestion of vulnerability to enhance the intimacy and seclusion of the incident. The model never engages with the audience and it is about her experience.
Reference to broadcasting with the blue background, suggesting of blue/green screen – connection to how females are contextualised and mediated in spaces.
Reference to Peter Greenman’s ‘Draughtman’s Contract,’ in which he is killed by eating poetry.
Reference to ectoplasm - Ectoplasmics are (mainly female) spiritual mediums that excrete material/fabric like substances from orifices of their body, that can be transformed into limbs, faces or bodies of spirits.
However, it almost an entirely fraudulent practise based on the power of suggestion and emotive appeal to the audience. Suggestion of artifice, falsity of the way images are constructed and mediated.
Sunday, 3 June 2012
Feb 2011
Digital Collage using found imagery
1 x 0.7m
My practice concerns the mediation of images and the contextualisation of women, whether via broadcasting, media images and the use of blue/green screen or how women are presented in nature using ‘seductive’ pastoral imagery. My interpretation of this becomes a recorded and exaggerated parody or un-mediated response in the video work. In this way, I explore and critique notions rooted in cultural perceptions of the body such as: art historically, the ‘muse,’ the male gaze, the unidentified gaze, symbolism, feminism and the human condition.
Saturday, 2 June 2012
Friday, 1 June 2012
Thursday, 31 May 2012
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