If you read my last article(shame on you if you didn’t), you’d already know about the Double Date show going on at Radiant Space in Los Angeles, “a four-person group show featuring paintings by Makan Negahban, Alic Daniel, mixed-media (Earth Pigment) pieces by Megan Jorgenson, and assemblage by Ilaria de Plano. Four artists explore varying themes both abstract and realistic while building related worlds with texture, color, shape, form and recycled materials.” – Radiant Space
Last week, I wrote about Alic Daniel. Go read it. I’ll wait…
This week, I am writing about Megan Jorgenson, as I have pledged to do an article for each of the four artists involved because I’m digging their work so much. So will you, I believe. And the show is up until March 30th, so you still have time to drop by. Contact Radiant Space for the hours of operation and for special events that they have throughout the month. It’s a great little space. Love what they are doing.
Now, here’s Megan!
I guess it’s best to start at the beginning and have you tell me a bit about your upbringing, the art history in your family, earliest influences?
The two most important women in my life, my mother Susan and grandmother Dolores, were the prominent influencers of art in my family. I grew up learning from them and their own passions. My mother went to school for fine art. Her work was so amazing to me, and it was so hard to understand why she stopped. Most of her tools were passed down to me, along with my grandmother’s who, too, had a fine arts background. From there, my ma just kinda said, “Have at it.” I guess you could say I’m self-taught and learned through what I saw and what I felt.
Can you tell me about your current show at Radiant Space and the types of work that will be in the Double Date show?
I have 4 new pieces at Radiant Space that consist of earth plaster and oil.
For those who don’t know, what is Sumi and why do you use that style in some of your work?
Sumi is a medium I have moved away from. My current work is primarily earth pigments, which is basically a natural plaster. “Earth Plaster.” It’s rock made into a fine dust that you mix with water at a consistency you desire.
“Heart of the storm” Diluted oils on raw canvas with patches of earth plaster. Strong with purple hues it’s a summer storm at the heart of a sunset.
Do you consider yourself an environmentalist, and how concerned are you about the current state of our planet and what we are doing to it?
I do. The earth is where I feel most alive, and most at home. It saddens me, the lack of apathy people have for it, the loss of heart, and all of the waste of things we don’t need. I just try to do my part and truly take the time to be a part of nature and really take in its beauty.
“Piano Song” Earth plaster with just a few spots of oil color. I absolutely love the Piano. It kind of transcends me to another space. A friend had sent me a song on the piano and these are purely the movements to it.
For me, Van Gogh always painted the prettiest flowers. Did his work influence yours? Who did? Hasegawa Tohaku, maybe?
I sure do love Van Gogh, but Georgia O’keeffe’s flowers always held a strong, captivating presence with me. I’ll never forget one of her quotes: “Nobody sees a flower – really – it is so small it takes time – we haven’t time – and to see takes time, like to have a friend takes time.”
How did you become involved in the current show?
My dear friend Mia Orozco asked me. We met through a mutual friend about a year ago, and it pleases me so much that she has been so supportive and kind to include me.
“Thunder on the Plains” Earth paster and diluted oils on raw canvas. It encompasses a feeling of my home in Minnesota. A place and time in which I often visit in my dreams.
You’ve also worked with vintage clothing and handbags, is that right? What other mediums are you attracted to or would like to dabble in but haven’t yet?
Yes. My school background is in apparel design. I honestly feel like I’ve worn so many hats in the field, but have yet to dive into making dyes. I think that would be an interesting relationship with what I’ve been painting with natural pigments.