Megan Visser
Emotive Interiors
13th March - 24th April 2022
Emotive Interiors is an installation piece that explores our need to find comfort, space to reflect and connect. The set installation references automotive aesthetics, space age and medical design with windows and cut-outs that allows you to see inside, to what is beneath the surface. The piece explores a desire to find comfort, connect and escape in our time of uncertainly and increased isolation; whether that be on our laptops, in our homes, or driving. In the past two years the amount of people driving has increased revealing a disconnect between beliefs and actions, as well as spending more time on our laptops, staring at screens and distancing ourselves.
We often turn inwards, it is important to focusing on our own care but we must also look outwards towards building better futures for all together. Our homes, beds, cars and bathtubs are our spaces to intimately connect with the road ahead. A place to reflex and research what we want, how to connect or escape and ask where do we go next?
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Megan Visser is a multi-disciplinary artist specialising in short video, sculpture and installation. Their colourful and cartoon-y surreal work combines references from advertising aesthetics, self-care culture, medical imaginary and feminist art history. Exploring the underlying humour, absurdity, and complexity of contemporary culture in post-digital culture.
They graduated in 2017 from Wimbledon College of Art in BA Fine Art: Painting. Most recently part of ‘Beyond Boundaries’ a series of public art projects commissioned by Tate. Recent exhibitions and screenings include The Potion Room, Subsidiary Projects, London (2020); ADSTRAVAGANZA, Nottingham Contemporary, Nottingham (2020); GRAFT, Harris Museum, Preston (2019); UKYA Nottingham City Takeover, Backlit Gallery, Nottingham (2020); Post and Packaging Paid For - Peripheries Art Licks Weekend, London (2018); PC4PC, 198 Contemporary Arts & Learning, London (2017) and UK Young Artists - The Beginning, National Assembly, South Korea (2017).