Culture 菌整理编辑，版权为艺术家本人所有
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Earthquake Enamel on canvas 16 × 20 × 2 in | 40.6 × 50.8 × 5.1 cm 2024
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Radiator Acrylic and enamel on canvas 55 × 76 × 2 in | 139.7 × 193 × 5.1 cm 2024
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Business Reply Enamel on canvas 41 × 54 × 2 in | 104.1 × 137.2 × 5.1 cm 2024
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Now / The Past Enamel on canvas 15 × 24 × 1 in | 38.1 × 61 × 2.5 cm 2024
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23 Hours Straight Enamel on canvas 55 × 80 × 2 in | 139.7 × 203.2 × 5.1 cm 2024
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Everybody Must Get Stoned Enamel on canvas 51 × 66 × 2 in | 129.5 × 167.6 × 5.1 cm 2024
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Poodle Mix Acrylic and paper on canvas 70 1/10 × 55 1/10 in | 178 × 140 cm 2014
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Palette (red, yellow, blue, umber) Oil on paper16 × 12 in | 40.6 × 30.5 cm 2022
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概念艺术家梅格·克兰斯顿（Meg Cranston）用异想天开的气氛创造雕塑和装置，通常掩盖了她探索的思想的象征意义和更深的含义。她的作品经常轻松愉快 - 对于简·奥斯丁（Jane Austen）（1991）的完整作品，她充满了大型天气气球，上面充满了阅读奥斯丁的整个作品所需的所有空气，而其他作品则带有更严肃的参考。Magical Death（2007）是Piñatas的展示，看起来像Cranston自己，将可笑的自负融为一体，并暗示着对艺术家的s象烈士的刻画，可以用棍棒像Piñatas一样被击打。其他装置作品也引起了类似的个人主题：对于《保持同样的》（1989年），她在画廊空间中展示了所有个人物品，而对于每个（1990）的一个（1990），她展示了150个娃娃人物，并以难以理解的清单进行分类。Conceptual artist Meg Cranston creates sculptures and installations with an air of whimsy that often belies the symbolism and deeper implications of the ideas she explores. Her works frequently seem lighthearted—for The Complete Works of Jane Austen (1991), she filled a large weather balloon with all the air necessary to read Austen’s entire oeuvre out loud—while other pieces carry more serious references. Magical Death (2007), a display of piñatas fashioned to look like Cranston herself, fused a comical conceit with an implied portrayal of the artist as martyr—to be bashed with sticks as the piñatas would be. Other installation pieces evoke similarly personal themes: for Keep Same Over (1989) she displayed all of her personal belongings in a gallery space, while for One of Each (1990) she exhibited 150 doll figures, catalogued in an inscrutable checklist.© Meg Cranston
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