Megan’s paintings on canvas and companion installation reflect the artist’s habit of living with her work over time. In her apartment studio, Megan paints over previously exhibited pieces, engaging in an ongoing dialogue with her personal history that, in this moment, explores cultural heritage and the making of new memories following an extended period living abroad.

The painting series on view, “Endpaper,” emerged after a transformative five-month journey through Asia. This experience was both enlightening and curiously nostalgic, inspiring her move toward an impressionistic style. These paintings capture moments from Megan’s trip, both tangible and intangible, abstract and figurative—from the ephemeral quality of air in natural landscapes to a gifted book of Meiji-era photography from a local artisan. As with many of her series, Megan covers past paintings, layering colors and textures, embracing chance as part of the process. These evolving palimpsests contain memory, emphasizing the idea that what we hold exists now, conveying the ever-present potential to transform.

Remember to Forget is a mixed media installation that invites ritual engagement to acknowledge habits of accumulation over time. Since 2014, Megan has folded notes, sketches, and lists into paper cranes—each one marking a pause, a moment of reflection and release. The act of folding transforms fleeting thoughts into physical form, embodying both remembrance and the inevitability of forgetting. Here, paper connects the elements of earth and sky. Folded on the ground, each crane carries the energy of an idea released into the ether. Over time, this repetitive practice has become a grounding ritual, and the artist offers it to us as a way to move forward, letting go of what was and making space for what’s next.