COLOR WORK STATION, 2009
PRINT EDITION BY 20X200
AVAILABLE IN 4 SIZES, RANGING FROM $20 TO $2000
CLICK HERE FOR MORE INFO AND TO PURCHASE

my show at New Image Art is up till March 21
Go check it out if you are in LA and want to see the 7 foot tall pile of handmade trash i made!

check out this dolphinforce video directed by james mann and tina chiang

link

http://www.myspace.com/dolphinforce[

stacey kiehl made the awesome costumes (matt made his robot costume of course)

Dolphinforce are: Matt Salata, Daniel Brantley, Shawn Jimmerson & Mike Murphy

]

who came out saturday night and made the opening so much fun. Matt Furie and CF came from SF and Providence with amazing work and the Dolphinforce performance was awesome! Below are some pics if you missed it (click to enlarge) and i will post more soon. If anyone took cellphone pics or video of Dolphinforce email them to me so i can pass them along to the band. Also check out their myspace page. http://www.myspace.com/dolphinforce

here are some images from Matt Furie and CF and Dolphinforce showing with me at New Image Art opening this Saturday!

CF

20×200 has just released two prints in various sizes (ranging in price from $20 ea to $2000)

here is a link and images of the originals are below

http://www.20×200.com/email/edition-announcement-138-megan-whitmarsh.html

I am a child of the 70s whose sense of futurism is informed by Star Wars (fucked-up dusty robots) instead of Tomorrow Land. A future with entropy and drug use and weeds growing in the cracks between the scratched plexiglass windows of the geodesic domes. Bits of yarn and dusty houseplants. If this sounds bleak, I don’t mean for it to. Perhaps the healthiest kind of futurism is one that admits entropy and flux. Perfection is suspicious; worn and dusty can mean well-loved, too. Who loves the Stepford Wife?

The visual noise of my youth wasn’t only Reagan and the Day After; it also contained optimism and complexity: Joni Mitchell, Bob Dylan, Mork & Mindy, The Muppets, and punk rock.

When I make a giant mountain of handmade trash I am lost in the fun of making, and feel like a kid building a fort. In the end I must resign myself to the fact that I have just added more crap to the world, but this seems an inevitable part of being an artist and a human. I try to remain optimistic. I like art that is generous in spirit and amateurish, art that inspires rather than intimidates.

I consider art a practice of transformation. We cannot expect to make new energy; instead we must reinvent, recycle, and transform what exists already. Making art is my attempt to synthesize my optimistic vision of the future with my pragmatic appraisal of the world I inhabit.