Meredith Carr’s brand-new studio at Junctionview is opening up bigger opportunities for her. Until she moved into the artist complex two weeks ago, Carr didn’t have access to a space conducive to creating large artwork like she had while in Ohio University’s MFA program.
“I just want to make some big, messy stuff now that I’ve been doing these precious smaller pieces that are the wall-size of the small bedroom I was working out of,” said Carr, who finished at OU in 2010. “I’ll probably do some more three-dimensional, interactive installation work.”
To welcome Carr and its other new artists, Junctionview is holding an open house featuring the tenants who have been around for about six weeks or less. The one-night event will showcase fine art by children’s book illustrator Christine Miller, images by Stefanie Parkinson and the trio of photographers behind Time Tank Labs, mixed media creations by Briden Schueren and adorable animal illustrations by Jen Wrubleski, along with Carr’s work.
Visitors to Carr’s studio will notice that she uses many different media. She paints with watercolor, acrylics and gouache, creates collage effects with images from magazines using a process called gel transfer and has even sculpted using Herend porcelain available only in Hungary.
Those who stop by her studio will see many attractive women in her work. Currently on the walls are pieces from her “Vogue:March 2010, The Power Issue” series, which Carr was inspired to create after flipping through the magazine — she found that it equated the idea of power with sexuality — and noticing reoccurring themes in the advertisements.
Some ads featured women in animal-like poses, so Carr has ladies prowling around on a cardboard canvas partially printed with animal spots. Other ads showed products covering naked women’s private parts; Carr created an angelic nude subject concealed by purses.
“I’m interested in general in the dissemination of images and how they’re distributed to the public, who their audience is, how those images affect our society and individuals,” she explained.
Neon colors cover many of her canvases. “I have a lot of interest in color in general and color relationships,” she said, “but with some of them the bright colors are representing that toxicity in advertising.”
To represent the trend of not showing women’s heads, she layered different images of decapitated bodies in one orange, yellow and purple piece called “Cropped.”
“It’s just such a weird concept to me that they would cut off the heads of all of these models,” she said.