Meg Mosley - The story so far...
My career as an artist has been an evolutionary process. The themes that inspire me have remained consistent but my scope has widened and matured. Initially, I made art to understand my place in society and to find my own ‘voice’ but now I listen to the voices of the community from their own perspective and make art as a participant observer.
My BA artworks at Middlesex University were an expression of my obsessive need to make collections which I created to hold, control and classify the ephemeral, fragmented array of artifacts in which I had invested an intensity of attachment that far exceeded their material value. These highly personal works evolved into more culturally aware installations that explored the human need to archive and encapsulate transient experiences like desire, nostalgia, memory and loss. I received a first class honours degree and was chosen to go on an exchange to Prague F.A.M.U. School of Film and Photography where I extended my visual vocabulary with projects about journeying, absence and nostalgia, traces of memory, surface patina and the tenuous nature of souvenirs.
After my BA, I co-ordinated the creation of my own personal gallery as a multi media virtual website that went live in 2004. This was a large undertaking and provided me with space comparable to a real contemporary Art Gallery, where the projects, themes and concepts have their own rooms that are conjoined. This site demonstrates my art process from inception to completion. Its success led to me being funded for my MA and being selected for a new media residency in the ISIS Centre, Newcastle 2003 PVA MediaLab. My virtual gallery was exhibited in 2005 MAFF05 Digital Skin, Online Exhibition & Conference, Thailand for its innovative use of digital media.
In 2004, I was selected for Live Art Development Agency DIY 2 and received professional development from the influential performance artist Anne Bean. This first meeting developed into a collaborative performance entitled ‘Yearnings’ with Anne and 4 other female artists. We explored actions and rituals related to the notion of marking and capturing time, time as memory, as process, as moments, as metamorphoses and metaphors. I was then invited to be an artist in REAP and created work that investigated the cycle of a year. This culminated in exhibitions and events at CGP Gallery in London.
I was then selected for an international residency by the USF Cultural Centre in Bergen to explore ideas of wanderlust and investigating the artist residency itself with its preconceptions, expectations versus real-time experience. I also probed my fascination with the commodification of culture by examining the dissonance between real experience and the souvenir.
I won a full MA funding scholarship from The AHRC for the Research Preparation Masters Scheme to study for a Masters degree at the Slade School of Art. As my course progressed, the themes of my work shifted dramatically from the personal to the communal and I started to get people involved in my work. My work became more sociable and began to include performative lectures and presentations related to the connection between individual identity and communal identity. How these interact became the premise of my dissertation and final seminar. This culminated into a large scale event I staged on the opening night of the Slade called Friends Family and Flowers. It was ethnographic, performative, playfully unconventional and defined all my subsequent artistic aspirations.
Since leaving the Slade I have received commissions from both art galleries and community arts projects. I give artist’s talks to schools and arts institutions. In 2009 I was selected by Sophia Hao curatorial Research Fellow at Laing Art Gallery Newcastle as one of 5 younger artists to respond to the energy of lost performances during the 1980’s at The Laing by Anne Bean, Rose English, Mona Hatoum, Bruce McLean and Nigel Rolfe. This was a major show culminating in an exhibition, live performances, a symposium with the original live artists themselves as well as international artists, thinkers, and critics and a publication which examines concepts of memory, archiving; the documentation of ephemeral practices and queries the reasons and conditions for remembering within the discourses of institution and art history.
Meg in the Media