on sugar mountain. up shit creek. 2008

Installation overview. photo: Allison V. Smith

Installation overview. photo: Allison V. Smith

Installation overview. photo: Allison V. Smith Sugar Mountain- detail. photo: Allison V. Smith through rose colored glasses detail. slip cast gun on faux fur pillow. sugar & shit cabinet card drawings. photo Allison V. Smith shit creek photo: Allison V. Smith Installation overview. photo: Allison V. Smith Ivy- cabinet card drawing fucked- ceramic figurine detail. photo: Allison V. Smith sugar- ceramic figurine detail. photo: Allison V. Smith sugar- figurine detail sugar mountain- back detail. photo Allison V. Smith we never sleep- detail conjoined- we never sleep- detail. photo: Allison V. Smith we never sleep- detail. through rose colored glasses detail. photo Allison V. Smith nervous systems - overview. photo Allison V. Smith nervous system- detail nervous systems - detail. photo Allison V. Smith installation detail. photo: Allison V. Smith pinkertons- overview pinkertons- detail pinkertons detail. photo Allison V. Smith matilda- cabinet card drawing. annie- cabinet card drawing.

Saturday December 13th 2008—Feb 7th, 2009

Road Agent

Road Agent is pleased to announce a solo exhibition of new work by Dallas-based artist Margaret Meehan, opening December 13 and running through January 17.
Last year, when the Modern Art Museum of Fort Worth launched Pretty Baby, a compelling and disturbing exhibition of works exploring the darker side of adolescence and curated by the Modern’s own Andrea Karnes, Margaret Meehan was the only local artist included in a group of international art stars. And yet Meehan’s work—delicate ceramic sculptures and curious drawings of variously mutated young girls—played hardball with works by the likes of Nathalie Djurberg, Catherine Opie and Richard Phillips, and was unflinching in its presentation of what is inherently menacing, sad, strange and resilient about the experience of childhood. While some parents and teachers were reportedly skittish about Meehan’s unapologetically exposed creatures, children were fascinated and drawn to them, as though recognizing old friends they’d missed terribly but had been forbidden to visit.

Meehan’s concern with locating the sublime in the grotesque is as grounded in a traditional Victorian obsession with medical anomalies as it is with defying our more recent attempt to banish all nastiness and discomfort from our daily experience. In Meehan’s eyes, oily real life indeed seeps up into our fluffy, shiny world, and that’s where things finally get interesting (and often quite funny and absurd). Thus, Meehan directs an admiring gaze, full of defiance and poetry, at all the weird jolts and unexpected biology we call life. She adapts to those gruesome facts, celebrates them, lets the innocent collide with the monstrous in the most unsettling way to create a more rounded experience—a sensibility inherited as much from David Cronenberg or David Lynch as Louise Bourgeois. This is formal presentation tangled up in a knot of rank intestines. Beauty possessed by a Body Snatcher. Sugar laced with shit.