IPMM Exclusive Interview – Megan Van Groll

EL: “Bakery Brawl” seems like a scene you were actually a part of, in fact, you describe it as a “double self-portrait”…explain that…

Megan Van Groll: I love to watch my initial ideas unfold into something unexpected. Every painting I make turns out, in retrospect, to reflect whatever is going on in my world or my mind at the time that I make it. Bakery Brawl is a great example of this. I found a photo of two prostitutes at the beginning of a catfight and that was the basis for the pose of the two women in that painting. I recreated it with new reference images and I ended up using myself as the model. I didn’t intend for it to become a double self portrait when I first planned the painting, but I think it’s interesting that it did. The aggression reflected on a personal point of tension in my life as a young person — and a young painter — figuring things out, figuring myself out and where I fit in this world — and particularly the art world. When I became cognizant of this, I realized that this personal dialogue parallels the rather complicated current state of gender roles. In its own way and without intending to, Bakery Brawl marked the expansion of my artistic focus from the personal to the interpersonal, exploring identity construction within the framework of female relationships and communities.

EL: In your artist statement, you say “I’m fascinated by the obsessive, erotic, and somewhat dark role of food in the female consciousness.” How do you see food as both erotic and dark? Can they be so at the same time?

Megan Van Groll: Food is such a sensual matter. Even just texturally speaking; it can be soft, lush, sweet, dripping, messy, fleshy, warm, spongey… It nourishes us, and satisfies our hunger and cravings. We have a complicated relationship to our food, especially women and especially American women. We both crave certain foods — and are even addicted to these foods — and fear and loathe them. A cupcake, to name an example, is not just a cupcake. It’s a loaded cultural symbol — for guilty pleasure, for excess, for reward, for personal responsibility, broken goals, self-loathing and for everything we don’t like about ourselves. For everything personal we know is in our power to change, and we can’t get there.

EL: Do you find that people are often perplexed by what you’re getting at, or do folks usually interpret your work the way you do? how does that affect what you decide to do next? or does it?

Megan Van Groll: I want people to be a little perplexed. I don’t want my work to be a one-liner. I want it to be both accessible enough that you don’t need a Masters degree in Art History to feel that it holds cultural value for you, but complex enough that you feel compelled to explore the visual and psychological space of the image. That’s the challenge of painting semi-realistically and the anxiety of realistic painters: that the image might only be interpreted literally.

The process of choosing what to paint next is a natural evolution of my past work, the interpretation of it by others, and the dialogue that results. Hearing the perspectives of other people about my work has helped me understand new dimensions I didn’t anticipate. That’s the best part, for me – engaging the viewer in a dialogue, opening a portal for discussion. I encourage feedback. The interpretations of viewers does make its way into my future painting decisions, and any artist who claims otherwise is either fooling themselves or lying. However, it’s a delicate balancing act to choose when to listen and when not to; focusing too much on the potential reactions of viewers is paralyzing, unproductive, and clogs innovation.

EL: Besides making a commentary on food as it relates to femininity, what other aspects of your world view inform your art?

Megan Van Groll: My father was in the Army for over twenty years so I moved around a lot when I was a kid, spending five of my earliest years in Germany. Constantly readjusting to new places every year or two and not having one place to honestly call a hometown resulted in a fascination with the psychology of identity formation. How we become who we are and how we come to understand ourselves relative to other people, societies, and cultural expectations such as gender roles or racial stereotypes is an underlying theme in all of my work.

EL: Are there other social dynamics, internalized or otherwise, that you look forward to engaging through your work in the future?

Megan Van Groll: Absolutely. I’m very interested in exploring themes of identity — and my future work will likely be more immersed in this topic than my last few paintings, and probably in a more personal way.

EL: What are you working on now?

Megan Van Groll: Just this week I had one of the aforementioned flashes of inspiration and began planning a new series. I’m not yet ready to talk about it more than I have, though. I’m still in draft mode.

EL: Name one artist or musician IPMM readers should check out…

Megan Van Groll: I’m really enjoying the intricate, colorful paintings of Michelle Hinebrook. I recently purchased a print of one of her pieces titled Sugarcoat from 20×200. 20×200 is a great site for discovering new work and it’s affordable – prints start at $20.