© Ropac Paris - Megan Rooney
Megan Rooney - Flyer and the Seed
du 11 Mar. au 22 Avr. 2023
Galerie Thaddaeus Ropac
7 Rue Debelleyme
75003 Paris
https://ropac.net
'I'm interested in colour and how it is attached to memory. The ways in which it can both forge and summon an environment. When I see a colour that makes a strong impression on me, I try and commit it to memory, and this always relates to a place and to a story.'
An enigmatic storyteller, Megan Rooney works across a variety of media – including painting, sculpture, installation, performance and language – to develop interwoven narratives. The body in her work, as both the subjective starting point and final site for the sedimentation of experiences explored through her practice. The subjects of her works are drawn directly from her own life and surroundings, while her references are deeply invested in the present moment. She addresses the myriad effects of politics and social conventions that manifest in the home and on the female body. Recurring characters and motifs form part of a dreamlike narrative that is never fixed, but obliquely references some of the most urgent issues of our time.
Painting on uniform canvases measuring 200 x 150 cm – the wingspan of the average woman – Rooney presents layers of ethereal forms, often sanded back and painted over multiple times to create abstracted narratives without a discernible beginning or end. 'Each painting is a capsule of time and space,' writes critic Emily LaBarge, 'a palimpsest of effort and care, a portal into an intimate conversation between artist and canvas in which the journey of the work remains pulsing just beneath its surface.' She punctuates these layers with a contrasting dash of colour or energetic line, drawing the viewer in, only to disrupt their gaze with unexpected elements. These elements are often suggestive of corporeal forms that emerge and recede from view in an otherworldly space, as if captured in the process of becoming.
The artist's distinctive palette, strong sense of materiality and evocative use of colour are central to her practice, uniting her work across media. As curator Anna Lena Seiser describes, 'colour becomes a wildfire, a living element that morphs and overlaps with other bodies, swallows them up, takes hold of the space and weaves everything together.' Rooney's large-scale murals, ephemeral creations that respond to the surrounding architectural space, are often placed in dialogue with sculptural works to create an enveloping environment. These sculptures, created from household materials, found objects and fabric scraps, are tangibly linked to her paintings through their textured palettes and deft brushstrokes. The same is true of her performance works, in which painterly elements seem to have taken on a life of their own, with dancers moving to the scores of her prose poems.
Based in London, Rooney grew up between South Africa, Brazil and Canada, completing her BA at the University of Toronto followed by an MA in Fine Arts at Goldsmiths College, London in 2011. Her work has recently been shown in solo museum exhibitions, including at the Salzburger Kunstverein, Salzburg (2020–21); Museum of Contemporary Art, Toronto (2020); and Kunsthalle Düsseldorf (2019). Her performance EVERYWHERE BEEN THERE, created in collaboration with choreographer Temitope Ajose-Cutting and musician Paolo Thorsen-Nagel, premiered at the Kunsthalle Düsseldorf in 2019. The year prior, she performed SUN DOWN MOON UP as part of the Serpentine Galleries' Park Nights programme in London. Rooney's work has also been presented in numerous group exhibitions, including at the Fondation Louis Vuitton, Paris (2022); the Ludwig Forum für Internationale Kunst, Aachen (2021); Lyon Biennale (2019); Museum of Modern Art, Warsaw (2019 and 2017); Palais de Tokyo, Paris (2018); Venice Biennale (2017); David Roberts Art Foundation, London (2017 and 2014); and Fondation d'entreprise Galeries Lafayette, Paris (2014), among others.© Ropac Paris - Megan Rooney
Megan Rooney - Flyer and the Seed
du 11 Mar. au 22 Avr. 2023
Galerie Thaddaeus Ropac
7 Rue Debelleyme
75003 Paris
https://ropac.net
Flyer and the Seed is London-based artist Megan Rooney's first solo exhibition in France. Following the site-specific mural paintings realised recently to great acclaim in the Couleur en Fugue exhibition at the Fondation Louis Vuitton in 2022 and for CHILDHOOD at the Palais de Tokyo in 2018, the artist will present a group of new works on canvas in her signature format that corresponds to 'the wingspan of a woman'. These paintings will be centred around a monumental work on canvas whose scale invokes the all-encompassing presence of her murals.
A sculptor and performance artist, as well as a painter, Rooney is known for her impassioned exploration of colour, which she uses as a vehicle for finding form. Her paintings are built through an accumulation of layers, alternating between gestural strokes of paint of varying densities, and areas where colour has been sanded down or rubbed off. The layers continue to jostle and battle just below the surface of the finished painting, giving it a sense of depth and a palpable energy. ‘At different stages of the painting, I take on different roles’, explains the artist. ‘For most of the painting’s life, I am tunnelling into the core of the painting, trying to get deeper. Then I become an excavator, unearthing forms which lay buried deep within the surface of the paint. Late in the painting’s life, I become birdlike. I want to fly on the surface, so I am looking for places to touch down.’
Memory and time, time and colour, colour and light. Painting is a space where everything else slips away and I am free. — Megan Rooney
Rooney refers to the groups of paintings she creates together as a ‘family’. Their colours and moods correspond at times, clashing at others to immerse viewers in a changing painterly ecosystem. The artist’s allusions to her predecessors, including Poussin, Turner and Monet, are drawn out by curator Matthew Holman in the essay accompanying this new family of works. Rooney hints at their influence in the titles of her works, as well as in their formal aspect. And yet, as she explains, each painting has ‘its own desire, its own will’. They become like a cast of characters, partly shaped by the artist, and partly by the paint itself. ‘My paintings are born out of acute observations of the world around me,’ states Rooney. ‘I think of them as an informal collaboration between my body, the city and light conditions on any given day.’ Each of the works created for the exhibition has its own ‘internal weather system’, as Matthew Holman describes it, which reflects the rapidly changing light of the winter months during which the artist was painting. Rooney’s studio is perched on the third floor of an old hospital building in the heart of London, giving her a bird’s eye view of the streets below, as well as a rare unimpeded sightline to the sky. The artist captures this sense of suspension in her new paintings, which combine traces of what she describes as a ‘lunar, vegetative, decomposing kind of state’ and luminous expanses of colour. Although resolutely abstract, Rooney’s work always contains hints of anthropomorphic figures and references to the urban and natural worlds that surround her. Buried among gestural strokes and bursts of colour, they emerge to tell a story, drawing viewers further into the artist’s visual world.
For Rooney, ‘all painting is about storytelling.’ As a form of mark-making, her practice allows her to connect, as she describes it, ‘to the oldest parts of humanity’. ‘Telling stories is a central part of the human condition’, she states. ‘This impulse to leave a trace, to make a mark, to say I was here.’ Her prominent use of line across the paintings in the exhibition seems to point to this elemental desire, as well as recalling her own earliest experiments with printmaking. At the same time, the line represents a new expansion of Rooney’s visual vocabulary, providing a counterpoint to her atmospheric treatment of paint by reversing her usual process and allowing form to lead her to colour. ‘You spend your life as a painter developing a relationship to colour and then testing the limits of that relationship’, Rooney reflects. ‘It’s radical, it’s ever-changing – it can submit to you and it can betray you. It always seduces, always excites.’
About the artist
An enigmatic storyteller, Megan Rooney works across a variety of media – including painting, sculpture, installation, performance and language – to develop interwoven narratives. The body has a sustained presence in her work, as both the subjective starting point and final site for the sedimentation of experiences explored through her practice. The subjects of her works are drawn directly from her own life and surroundings, while her references are deeply invested in the present moment. She addresses the myriad effects of politics and society that manifest in the home and on the female body. Recurring characters and motifs form part of a dreamlike narrative that is never fixed, but obliquely references some of the most urgent issues of our time.
Based in London, Rooney grew up between South Africa, Brazil and Canada, completing her BA at the University of Toronto followed by an MA in Fine Arts at Goldsmiths College, London in 2011. Her work has recently been shown in solo museum exhibitions, including at the Salzburger Kunstverein, Salzburg (2020–21); Museum of Contemporary Art, Toronto (2020); and Kunsthalle Düsseldorf (2019). Her performance EVERYWHERE BEEN THERE, created in collaboration with choreographer Temitope Ajose-Cutting and musician Paolo Thorsen-Nagel, premiered at the Kunsthalle Düsseldorf in 2019. The year prior, she performed SUN DOWN MOON UP as part of the Serpentine Galleries’ Park Nights programme in London. Rooney’s work has also been presented in numerous group exhibitions, including at the Fondation Louis Vuitton, Paris (2022); the Ludwig Forum für Internationale Kunst, Aachen (2021); Lyon Biennal (2019); Museum of Modern Art, Warsaw (2019 and 2017); Palais de Tokyo, Paris (2018); Venice Biennale (2017); David Roberts Art Foundation, London (2017 and 2014); and Fondation d’entreprise Galeries Lafayette, Paris (2014), among others.