Megan Dyck

Megan Dyck, coulee isthmus, 2024, Acrylic on Birch Panel, 48x48, Newzones Gallery, Calgary, Canada

Megan Dyck, “coulee isthmus”, 2024, Acrylic on Birch Panel, 48×48 inches

Calgary-based Megan Dyck’s figurative imagery investigates the ubiquity of photography and aesthetic qualities of glitch that occur in digital and analog communication as metaphors for psychological isolation, loneliness, and desire. Transcribing benign and dramatic inadvertent visual flaws observed in contemporary and historical lens-based images of people, her paintings and drawings collectively address instances of fragmentation, warping, distortion, and double-exposure as emblems for the incongruousness of the human psyche. Co-opting pixelated selfies, frozen excerpts of online meetings, found film negatives, and lagging video-clips encountered on social media as primary visual referents, Dyck’s work attempts to convey the unease of being a consumer of images in the digital age: moving perpetually between a sense of connection and alienation.

Megan Dyck is an artist and educator living and working in Calgary, AB. She received her MFA from the University of Victoria, and holds a BFA from the Alberta University of the Arts. In addition to her studio practice, Megan teaches painting and colour theory at AUArts.

“Colour studies are a playful arena of experimentation for me. Within my studio research as a figurative painter, these small abstractions provide a lighthearted counterpoint to the highly detailed processes of painting realistic representations of people. Consciously small and modular, my colour studies have an object-like quality, and can be arranged in a myriad of groupings to showcase varying colour relationships. Here chroma, shape, and the physicality of paint are theatrical characters in a collection of imaginary abstract vignettes.” -Megan Dyck

SELECTED WORKS
PANEL STUDIES
PAPER STUDIES
BIO

Calgary-based Megan Dyck’s figurative imagery investigates the ubiquity of photography and aesthetic qualities of glitch that occur in digital and analog communication as metaphors for psychological isolation, loneliness, and desire. Transcribing benign and dramatic inadvertent visual flaws observed in contemporary and historical lens-based images of people, her paintings and drawings collectively address instances of fragmentation, warping, distortion, and double-exposure as emblems for the incongruousness of the human psyche. Co-opting pixelated selfies, frozen excerpts of online meetings, found film negatives, and lagging video-clips encountered on social media as primary visual referents, Dyck’s work attempts to convey the unease of being a consumer of images in the digital age: moving perpetually between a sense of connection and alienation.

Megan Dyck is an artist and educator living and working in Calgary, AB. She received her MFA from the University of Victoria, and holds a BFA from the Alberta University of the Arts. In addition to her studio practice, Megan teaches painting and colour theory at AUArts.

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