Megan Menzies

I draw, paint and write to explore memory, personal experience and storytelling. The memories, experiences and stories I work with and develop in my practice are often ordinary with a heavy, melancholic quality – they are what I call heavy moments, where time thickens and small details are valued and intensified. They are moments of contemplation, imagination and sensitivity.
These moments are often starting points for paintings, beyond which comes a period of reflection, which involves writing and making drawings from memory. I use charcoal as it can be pushed around and manipulated so easily, seeming to work in sync with the imagination. The drawings bring together observation, feeling and memory. They are a search for those sublime elements that can often be found in ordinary subjects.
The spaces I depict in my work often have an unreal, dreamlike, illusionistic or cinematic quality. Exploring the translucent qualities of oil paint, layering techniques, superimposition and glazing has become integral to my practice, and in particular the representation of storytelling and recollection. I’m interested in the act of looking and the different layers we bring to the experience of looking – memory, feeling, identity. Through material research, and by thinking more formally about my paintings, I strive to get closer to the emotional core of these moments.
I use colour symbolically. My red cheek pressed against the cool glass of the car window produces a haze of colour, turning an ordinary grey and green motorway landscape pink. The landscape blushes nostalgically and the raindrops that I watch land and slide down to the bottom of the window glimmer behind the rose-tinted glass. As I blush, so does the painting. As I feel shame, so does my work. The confusing (and colourful) politics of embarrassment are becoming more important in my work.
By paying attention to small details (and their heaviness), and by imagining impossible but intimate perspectives and viewpoints, I hope to convey to the viewer a sense of how these moments feel, to encourage sensitivity and close looking, and to reveal the underlying awkwardness, sensuality or magic of the everyday.
Education: 
 
2020-2022 MA Painting, Royal College of Art
2013-2016 BA History of Art, University of Bristol
 
Exhibitions:
 
2023
April — Lilya Gallery group show, London
April — Huxley Parlour, online showcase, ‘NOW'
March — The Artiststellar group show, London
February — ‘Look Mum No Hands’, Be Advisors, London
 
2022
November — ‘TINTO’, La Causa Gallery, Madrid (solo)
November — ‘Now Introducing’, Studio West Gallery, London
August —‘Summer Show’, Eve Leibe Gallery, London
July – ‘Home’, The Regency Town House, Brighton and Hove
June – ‘What is Becoming Us’, Rupture Xibit, London June – ‘Royal College of Art’ 2022 Degree Show, London 
 
2021
March – ‘Safe as Milk’, Arusha Gallery, Edinburgh
February – ‘Work in Progress 2021’, Royal College of Art 
 
2020
December – ‘Curated for Christmas’, All Mouth Gallery, London
November – ‘Unmasked’, Daniel Raphael Gallery, online 
 
Commissions/Collections:
Camden Council, Hoarding Commission, 31 Daleham Gardens (2023)
Soho House Permanent collection- Shoreditch Works (2021)
Ancestry- 80th anniversary of the Blitz (2020)
 
Awards:
Now Introducing Prizewinner, Studio West Gallery, London (2022)
Elizabeth Greenshields Foundation Grant (2021)