Whitmarsh recreates the cover of Flash Art magazine, 2013.
Whitmarsh's whimsical replicas, whether studios or trash piles ("Trash Mountain," 2008-2009) constructed out of wire and fabric or "paintings" of rock bands made from embroidery, are emblematic of this relationship between play and rigorousness. "I think there's a sort of fear in certain [art] circles that things aren't serious if they don't look serious," Whitmarsh says. "But I think you can have a sense of play and flexibility and at the same time be deliberate and serious about your work." Combining a craftsy, DIY sensibility with a more high-brow, intellectual quality (think Michel Gondry's elaborate cardboard or fabric sets in The Science of Sleep), her pieces have been shown at art fairs and in galleries all over the world. "I went to school for painting and sculpture, and I started doing embroidery for my paintings because honestly I thought I wasn't a good enough painter. I wanted to find ways to make art that was fresh to me," Whitmarsh says of how she began shaping her aesthetic. "It wasn't a conscious, political decision but more about being super attracted to the materials."
"Orange Belt," 2012
"Trash mountain," 2008-09.
With each of these projects, Whitmarsh says the most important thing is that her work makes people feel good. "Pleasure is such an important part of viewing art and some people don't appreciate that," Whitmarsh says. "When I was in Sweden last month for my opening at Krets Gallery, an old woman came up and said, 'I feel like your work is hugging me.'"
Megan Whitmarsh / grey area will exhibit fabric art magazines at Art Basel Miami Beach, 2013.
All works courtesy of the artist and Mulherin + Pollard NYC; flash art magazine Photo by Aaron Farley courtesy of the artist and Grey Area.
Megan Whitmarsh / grey area will exhibit fabric art magazines at Art Basel Miami Beach, 2013.
All works courtesy of the artist and Mulherin + Pollard NYC; flash art magazine Photo by Aaron Farley courtesy of the artist and Grey Area.