3 minute read
MEGAN CONLEY: VULNERABLE EXPRESSIONS
“Sinking,” 2016.
BY ALI PENKO
ARTIST Megan Conley feels compelled to make work that explores issues of self-identity, born from her experiences of dealing with facial and dental deformity and the correction process that lasted over 10 years.
Initially a painting major at Alberta University of the Arts, Megan turned to photography and video after she became frustrated with the slow process of painting, as she was unable to work as fast as her ideas formed. She says, “My painting instructor at the time encouraged me to switch to photography and video in order to quickly edit and re-evaluate my therapeutic art practice.”
Megan states, “Photography has allowed me to create abstract works from experimental processes that may not have worked otherwise.” For example, she describes how a photo of herself, placed outside of a jar of water, and then re-photographed, “allowed me to speak to feeling like I was drowning at the time, feeling confused about my appearance and the inability to move forward with my new identity.”
“Untitled,” from the Alien 1,2,3, series, 2011.
Masks play a prominent role in many of Megan’s projects. Regarding her series Alien, she says, “I was interested in re-performing traumatic experiences using masks, layered makeup, and costumes, and turning myself into a grotesque, physically less desirable version of myself.” Megan created a series of video performances, took screenshots of them, and then layered them together.
Megan’s mask works and manipulated selfportraits continued as she worked towards a Master’s Degree at the University of Buffalo. She says, “This was a study of topography and a continuation of masking. I always felt like I have lived the life of two separate people, one physically less desirable prior to the reconstructive facial and dental surgery, which is why I consider my skin a mask that I wear every day.”
Megan continued the theme of exploring trauma and healing while participating in an artist residence at a middle school in Alberta. She states, “Working with youth has encouraged me to re-examine my practice and be more receptive to trauma that is not my own.” Working with the students, Megan created a portrait installation by having them recall an emotionally traumatic experience and by creating 3D scans of their expressions. The scans were then printed onto objects and displayed throughout the school. Of the experience, she recalls, “There were many positive outcomes, but the main one was the ongoing conversation about the effect trauma can have on mental health.”
“Skull and Face 3,” 2019.
She has continued to develop her series Trauma 1, 2, 3 with other groups across Canada. During her 2017 residency at Gibraltar Point on Toronto Island, she used a similar scenario, creating 3D scans of fellow artists in poses relating to memories of past trauma without revealing their context. Megan says, “I selectively altered and manipulated portions of the figure and face to emphasize aspects of their possible physical or emotional trauma.”
“Collective Healing,” 2019.
The most recent continuation of this series involves collaboration in Calgary with DJD Dance Centre dancers. She says this project examines “the face and body as a site of vulnerable expression through movement and physical touch, while ultimately starting a conversation about individual struggle and mental health, but also collective healing.”
Of the future, Megan says, “As I continue to work on my own Trauma series, I want people to relate more, talk about their own trauma, and start a conversation on mental health. Everyone has their own individual story, but collective healing holds real power.”
meganpatriciaconley.wordpress.com
See MEGAN speak about this work in our VIDEO from the PhotoED Magazine inspiration event in Calgary:
http://www.photoed.ca/post/megan-conley-calgary-2020
