My visual practice examines the complex socioeconomic, affective, and spatial relations between artists, institutions, and the wider community. I'm particularly interested in the ways that community membership is established through storytelling, gossip, and play. Using text-based games, and diverse media located at the intersection of design, photography, and craft, my work coheres through its colourful sensibility, humour, and sincere belief that everything and everyone is interesting. A key part of my practice has been examining the social roles of artists as educators. Informed by an background in non-profit communications, I see my primary role as an artist as one that granting agencies sometimes call ‘knowledge translation’: making complex ideas accessible to a wider audience by tracing paths between insights gained through theory and research, and their practical applications. As a professional contemporary artist, I attempt to make visible and intelligible the hidden processes structuring our relations.
Over the past twelve years, Megan Morman’s visual work has shown in solo exhibitions and festivals across Canada, including at the Art Gallery of Alberta (Edmonton), the Southern Alberta Art Gallery (Lethbridge), Artspace (Peterborough), and Galerie Sans Nom (Moncton). Morman grew up in rural Minnesota; before moving to Lethbridge in 2012, she spent fifteen years in Saskatoon working in communications, volunteer management, and administration with arts and community-based nonprofits including AIDS Saskatoon and the Saskatoon Pride Festival. She has received grants from the Alberta Foundation for the Arts and the Saskatchewan Arts Board, and in 2008 was awarded the Saskatchewan Foundation for the Arts’ Jane Turnbull Evans Award for Emerging Artists. Morman has a B.A. in Sociology from the University of Saskatchewan (2003), and will complete her M.F.A. from the University of Lethbridge in July 2016.
The games I have designed have responded meaningfully to local conditions by illuminating
engaging, humanizing stories that have driven local interest in visual art and design, and brought communities to life. I highly value working in a way that engages and addresses local needs. Even when it comments about history, theory, or art, my work remains accessible at multiple levels— formally and conceptually. My work will respect the architectural and cultural heritage of buildings, their occupants, and community members. I am excited to design with and for diverse public of all ages, genders, and socio-economic positions. Consultation activities will be driven by context: the nature and history of the structure, its location, its users or inhabitants, and its neighborhood. Processes may involve interviews with stakeholders and community members, public opportunities for storytelling and memory sharing, street-level conversations, archival research, or other techniques as appropriate.
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and read more about the Painted City initiative.