Megan's Art Space

Delphian Gallery have worked in collaboration with the print space in London, located on the Kingsland road to put together a show collating work that spans photography to drawing to painting. This year's open call saw over 10,000 submissions where artists are encouraged to engage through instagram to share their work through a hashtag. This year saw the wonderful Florence Hutching's (last years solo show winner from the open call in 2018) as a judge alongside others associated with the gallery and show. The other day I went to see the show, and have put together some of my favourite pieces.  First up we have Nettle Grellier whose large scale paintings explore figures, animals and more in domestic and other settings. I've followed her work for a few months and really engage with how she is confident in her application of line to the surface. Her work may be large scale but she has a real ability to keep each piece intimate and poetic through the composition of figures

Last week the Van Gogh Exhibition opened and the show represents the largest collection of the Artist's work in nearly a decade. The show features some of his most famous work including Starry Night on the Rhône. The exhibition also looks at the British artists who were inspired by Van Gogh, including Francis Bacon, David Bomberg and more which I did not know about the show at first. This was a welcomed surprise as it was great to see how other artist had been influenced by his vision, whether this was through colour, mood or subject matter. Poster advertising the last Van Gogh exhibition @ Tate Painting by Van Gogh I've noticed that with recent exhibitions the Tate have started the mimic the work with how they display it through painting the walls certain colours other than a traditional white wall. This has been done in the recent Bonnard and Franz West exhibition at Tate Modern. I think this a strong progression with making the work more interactive an

Yesterday in the pouring rain I ventured to London to see Rebecca Appleby's show 'Inner Order'' @ Contemporary Ceramics Centre in London. The show is on until the 30th of March and showcases the diverse, playful practice of the Yorkshire based ceramicist. Aspects of the artists work that caught my attention straight away were he ability to translate mark-making and painterly surfaces onto 3D forms. I have so much respect and intrigue for makers and artists who use their practice to fully push their creative language and code. Organic forms, both 3D and 2D showcase Rebecca's vision to convey the way crystals develop in nature through abstraction of form, shape and line.  Details of one of the curved sculptures combining drawing and ceramics  Details of some of the large scale drawings by the artist depicting layers, fragmentation of form and an organic chaos of mark making. Her work has almost archival qualities because of how its been displa

  The Royal Drawing School show opened recently, and I’ve been going to the show for the last 3 years ever since Printmaker Samuel Heath, currently finishing an MA in Printmaking took me. I wasn’t aware it existed, and I think it is so important something like it exists because it means creatives and artists can solely focus on expanding that part of their practice and visual code. The intensity of it as a course is perhaps daunting but exciting to see in the final show at the end of the year. I have followed the work of some of these creatives before they embarked with the Drawing Year, so it was really exciting to see how their work had developed.   This year’s cohort is one I’ve followed the practice of online as well as seeing in the flesh and its always exciting to see that distance from digital to physical space. When you see a tiny piece of work in a box on the likes of Instagram it can alter the experience. As someone who has graduated from a BA Drawing

It's been well over a year since my last blog post. I've been writing still just not in a consistent space. I've got a few pieces over at On the Beat Mag  and on the Pressing Matters Journal . It's funny how I'm starting off by trying to show how I have been keeping busy, as a way of defining my offline presence on this space. This is something I have always been very good at maintaining, an image of being busy and content in what I am doing. I think with this keeping busy, comes a sense of running from oneself in order to keep my head above the water. In recent weeks I have been writing a lot more than I have been making art. I have had projects on the go, but not pushing myself fully into them which I find frustrating because I'm not being fully present in the moment of what I am doing. In this I perhaps lose the essence of why I am doing it. When you are in a state of transition there are a few ways you can process? deal? tackle? it. I am someone who has al

A couple of weeks ago I went up to Edinburgh and when I was there I met up with Alison Soye, who is an illustrator I discovered through Instagram. We met up in Lovecrumbs (the best cake n coffee shop) and chatted for a bit before heading to Princes Street Gardens to draw the buildings and surrounding scenery. We spoke about how we present ourselves online as artists this is something that we have to use more and more to get our work out there. Alison is currently working on an exciting project illustrating a children's book. We drew some of the buildings when we met and spoke about how amazing it is that people can both be drawing something in front of them at the same time but interpret it so differently. Alison's sense of line is more structured than my chaotic approach but we both have a similar continuous way of capturing what is in front of us, Alison's way of drawing is very instinctive. I've put together a small interview with Alison for you to lea