Megan Rooney Megan Rooney joins the gallery Megan Rooney Megan Rooney joins the gallery

Megan Rooney Megan Rooney joins the gallery

January 2021
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In this online presentation to mark the occasion of Megan Rooney joining the gallery, we are pleased to present three...

In this online presentation to mark the occasion of Megan Rooney joining the gallery, we are pleased to present three new paintings alongside a video of the artist speaking about her practice in her studio. Rooney will hold her first solo exhibition at Thaddaeus Ropac London in Autumn 2021.

Her work has previously been shown in solo museum exhibitions at the Museum of Contemporary Art, Toronto and Kunsthalle Düsseldorf, and 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 Palais de Tokyo, Paris; a performance at the Venice Biennale; and LUMA Foundation, Switzerland, among others.

Megan Rooney's fascinating ability to tell stories and create a narrative is felt through the various media of her multidisciplinary approach. Always in flux, recurring characters speak to a narrative that is never fixed, the artist addresses urgent subjects of our time and presents each iteration of her work as part of her Gesamtkunstwerk.


Hans Ulrich Obrist, Artistic Director, Serpentine Galleries, 2020

The body is always present inside of my work. I always see faces, limbs, eyelashes, an arm, a wobble, something...

The body is always present inside of my work. I always see faces, limbs, eyelashes, an arm, a wobble, something that represents flesh or feels like flesh, and the paintings for me are journeys between the space of the body and the space of the outside, the private and the public, the domestic, the interior and exterior landscape of our society.

 

Megan Rooney, 2020

 

Like Son, 2020
Acrylic, oil stick on canvas
200 x 150 cm

Rooney builds up her work in careful, intuitive layers of colour in which shapes and smears and angles, lines and...

Rooney builds up her work in careful, intuitive layers of colour in which shapes and smears and angles, lines and drips and swathes generate their own processual logic, lay and overlay, before she strips them back and sands them down, only to build them up again: each painting is a capsule of time and space, 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.

 

Emily LaBarge, writer and critic, 2020

  

E's dance for A, 2020
Acrylic, oil, pastel, oil stick on canvas
197.5 x 150 cm

Rooney's artworks, and their subjects, are in motion, whisked together – and apart –through dance, abstraction, assemblage, and fragmentary observation....

Rooney's artworks, and their subjects, are in motion, whisked together – and apart –through dance, abstraction, assemblage, and fragmentary observation. Flushed with apricots, corals, hazels, and creams, Rooney's palette is inspired [...] by variations of the pink that her mother painted the family's suburban house during her childhood.

 

Harry Burke, frieze magazine, 2019

 

Keeping Quiet, 2020
Acrylic, oil pastel, oil stick on canvas
197.5 x 150 cm

Watch a video of Megan Rooney filmed in her studio

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 Current and Recent Museum Exhibitions

Green, I Want You Green

Salzburger Kunstverein, Salzburg
3 October 2020 – 31 January 2021

As artist-in-residence at the Salzburger Kunstverein in 2020, Rooney was invited to design the Great Hall and the Ring Gallery. Together, these installations form the largest single presentation in the museum's history. Her immersive mural, Big Sky Blooming, was made in response to the architecture of the building, against which it pushes and rebels. Writer Emily LaBarge describes this work as a 'tender, licking, arcing, smearing atmosphere that spreads just as wide as a person's arms might reach, just as far as the ceiling and the walls, though it wants to go further.The installation will be on view at the Salzburger Kunstverein throughout 2021.

Murals, painting's monumental form, are traditionally more suited to a long, public life, announcing the presence of a community, a place, or an ideology; by contrast, Rooney carries out marathon acts of painting, going all in on shows that are only temporary, giving form to figures that cannot help but announce their impending erasure.


Laura McLean-Ferris, Artforum, 2019

 

Atmospheric image
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The paintings on view in the Salzburger Kunstverein main gallery were created during spring and summer of 2020, seeded from...

The paintings on view in the Salzburger Kunstverein main gallery were created during spring and summer of 2020, seeded from 'daily walks in urban gardens where plants bloomed, died, rotted, and were seamlessly replaced, to the detritus of local construction sites and garbage heaps,' writes LaBarge. 'The paintings progress like these seasons paused and abstracted, made strange and beguiling, never explicit, hinting at exterior and interior states collapsed.'

The exhibition also included Rooney's performance EVERYWHERE BEEN THERE, which is based on her prose poem SUN DOWN MOON UP and premiered at her Kunsthalle Düsseldorf exhibition in 2019.

 

Choreography: Temitope Ajose-Cutting
Sound: Paolo Thorsen-Nagel
Performed by : Temitope Ajose-Cutting, Leah Marojevic, Megan Rooney

HUSH SKY MURMUR HOLE

MOCA – Museum of Contemporary Art, Toronto
6 February – 13 September 2020

For her first major solo exhibition in Canada, Rooney transformed a floor of the Museum of Contemporary Art, Toronto, treating...

For her first major solo exhibition in Canada, Rooney transformed a floor of the Museum of Contemporary Art, Toronto, treating its walls as her canvas to create an immersive environment. The otherworldly space was occupied by characters and scenarios composed of household materials, found objects, fabric and paint. There are layers of complexity to these figures, which appear friendly at first glance but have a sinister undercurrent to them. 

The space is the most crucial factor for me when developing an exhibition. It becomes like the skin of a body, holding everything inside of it. The exhibition halls at MOCA have been very generative […] I was immediately drawn to the strong presence of the large concrete columns that stand in the space, and their unique narrative potential.

I have been thinking about the body's currency and whether or not it has a kind of expiration date attached to it; about the human body as a producer and maker and how it will be viewed in the future; and about redundancy, not only in relation to labour, but also how buildings and architecture can become redundant – the private and personal implications of an ending.

Megan Rooney, 2020

 

Fire On The Mountain

Kunsthalle Düsseldorf, Düsseldorf
18 May – 11 August 2019

For her first solo museum exhibition in Germany, Rooney created a new body of work, including paintings and sculptural objects,...

For her first solo museum exhibition in Germany, Rooney created a new body of work, including paintings and sculptural objects, centred around the large-scale, site-specific mural from which the exhibition takes its name. Her seemingly improvisational sculptures form part of the same universe, created from urban detritus and often painted in the same palette to create epics of the everyday. 'The materials of her sculptures [...] all carry the codes of the urban space and discreetly indicate their own stories,' writes curator Anna Lena Seiser. 'They remind us that political, social and economic transitions ultimately have an impact on the private sphere, and, above all, on the body.'

To see Fire on the Mountain is to feel swayed by a cosmos of brushstrokes as your body reads punctures of ochre and clouds of deep sienna. Edge forwards, and you notice paint scrubbed into a rough surface texture. Ebb backwards, and an impressionistic outline of coy eyelids becomes visible on the left-hand side: the suggestion of a figure haunts even Rooney’s most abstracted paintings.

 
Harry Burke, frieze magazine, 2019
Atmospheric image
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Megan Rooney developed a performance series for the exhibition, EVERYWHERE BEEN THERE, working with choreographer Temitope Ajose-Cutting and musician Paolo Thorsen-Nagel to transform her prose poem SUN DOWN MOON UP into a score. Over the course of three consecutive episodes, the dancers interact with each other, the space and the objects in the exhibition to create a variety of new dynamics. 'Rooney's palette envelops the dancers: the colours of their costumes cling to the body and obscure its shape, lending it a new formal spectrum,' writes Seiser. 'At one point it seems as if individual colour fields have dissolved from the mural in the background, streaming and spinning into the room with grace, pride, speed, and dizziness.' 

 

EVERYWHERE BEEN THERE, within the exhibition Fire On The Mountain at Kunsthalle Dusseldorf:
Choreography: Temitope Ajose-Cutting; Sound:  Paolo Thorsen-Nagel; Performed by: Temitope Ajose-Cutting, Crystal Zillwood, Leah Marojevic, Megan Rooney, Paolo Thorsen-Nagel, Moira Rooney & special guests

CHILDHOOD: Another banana day for the dream-fish

 

Palais de Tokyo, Paris, France
22 June – 9 September 2018

Titled after J.D. Salinger's short story 'A Perfect Day for Bananafish' (1948), this group exhibition brought together the work of...

Titled after J.D. Salinger's short story 'A Perfect Day for Bananafish' (1948), this group exhibition brought together the work of over 20 international artists to explore visions of childhood, often associated with experimentation, creativity and invented worlds. These ranged from fantasy, wonder and play to darker feelings of abandonment, boredom and fear. Rooney's contribution, a mural entitled Back to Breath. Back to Wind, evoked the early stages of language in which narratives remain unformed. 

As Laura McLean-Ferris describes in Artforum, Rooney used a sander 'to grind down layers of built-up paint, and thus was able to travel back in time through the creation of marks in her search for space and form'. Figurative elements emerge and recede in the dreamlike space she created, as if captured in the process of becoming.

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