Megan Seres is an emerging artist, living and working in Regional NSW. She attained a BFA (1st Class Honours) in 2004 from the National Art School, Sydney.
In 2010, due to Megan’s commitment as a mother and the use of toxic materials she decided to put the paintbrush down. In her persistence and determination to continue to create, a new journey began as she concentrated on gaining skills in various other mediums such as clay, wax, plaster, felting, weaving, photography and Photoshop.
In 2014 drawn back to the easel Megan began a part-time self-directed research and development phase that culminated in 2016 for her solo exhibition ‘Fairy tales, Myth & the Imaginary Tale’ at Shoalhaven Regional Art Centre and Gallery, was commissioned to create a sculptural installation for the launch of ‘The House’ at Carriageworks, Sydney and has been selected as a finalist in the prestigious Doug Moran National Portrait Prize.
'Many of my works to date have had a Gothic sensibility and are drawn from 18th and 19th century themes and images found in art, poetry, texts and films. The 17th century is also engaging for its extravagance and superb craftsmanship of all things beautiful.
My oil paintings are usually dark and luminous referencing the old masters use of chiaroscuro and the unique power that certain narratives can hold, especially ambiguous ones are of great influence in my practice.
A work often begins with found or reinterpreted images that I rework by assembling them in Photoshop, to studies on paper and if successful they are painted on oil paper, fine Belgian linen or board.
A new area of my practice is setting up a staged performance, photographing the scene then reworking it through the physical act of painting, this intimacy for me brings it back to life. I am also exploring the use of more colour, light and glazes.
On a final note, the process of memory and perception of both the internal and external worlds and their phenomena are of particular significance to me. It's fascinating how elusive memory can be and how we use the imagination to fill in the fissures often recreating, omitting and rewriting history.'