Rest before the fall

rest before the fall

21 x 15 cm, mixed media on canvas

© 2023 Megan Chapman

Dear Reader,

Did you go to the UK cinema last weekend to see California Schemin'? If not, make plans to go soon. Hopefully this brilliant film will be released in the USA soon as well. Thanks to everyone who has been excited to see my painting in the film. Having your support and enthusiasm means a lot to me and it is so fun to share this experience with you all.

In other news, I had a bit of a full on week - a lot of "go-go-going" without much time in between things which I usually require and prefer. I am glad the week is behind me. It brings a somewhat gross but catchy song from my childhood to mind, and if you click this you will get to experience it too. 

In the few spare moments, I worked on finishing off a wee series of paintings from 2023 that I always liked but hadn't been able to complete. You know - the boring (but somewhat meditative) bits, such as painting the sides of the canvas, signing, dating, titling, and adding the hanging hardware. I decided I needed to photograph them again too as my previous images just weren't up to par.

It's a dark and textured series, a set of six small canvas works that were the offshoot of a larger series painted in that same year. I have a backlog of unfinished projects that I am trying to get sorted in between my other work and my desire for a bit of fun and a lot more rest.

I went back and read one of my early blog posts from 2007 and decided to take my own advice and I am glad I did. I was reminded that little by little the work gets done and action is always where it's at. A lot can be accomplished in 15 minutes and it all adds up. I am feeling good about the progress I have made.

So, that's how you find me, recovering from the week and taking everything 15 minutes at a time. 

holding everything dear

15 x 21 cm mixed media on canvas

© 2023 Megan Chapman

Until next week, keep fighting - the world needs you and the gifts you bring. Thank you for sharing your time with me. 

California Schemin'

In the time it takes
Acrylic on canvas, 46 x 32"
© 2020 Megan Chapman 

Today I had an amazing experience. I got to see one of my paintings on the big screen for the first time! I booked tickets for the first showing on opening day of James McAvoy's acclaimed directorial debut, California Schemin'.

I think I might have exclaimed "Holyyyyyyyyy Shiiiiiiiiiiiiit!" under my breath to my pal in the darkened cinema. Or maybe it was "Oh My God!!!" when the camera panned and my painting was right in the centre of the scene above the fireplace. This is the penthouse...

Screen grab from California Schemin' Promo
© StudioCanalUK © California Schemin

There it was, just for a few seconds, but a definite presence. My large abstract painting with its bold strokes of pink and black cutting across the canvas - the trappings of success: our Scottish heroes of the film, Silibil N' Brains, had made it big. I was so engrossed in the film that the sight of my painting caught me by surprise even though I'd spotted it in a promo clip on Instagram earlier in the week.

Something I painted is now in a major motion picture by a famous Scottish actor and now director, filmed in Scotland about two talented Scottish rappers from Dundee who adopt American accents to finally get their big break.

What this moment means to me is hard to put into words. As an American artist (now an American Scot) who uprooted my life to come to Scotland with so many unknowns before me, I am extremely proud to have my work be part of this film. I love everything about it.

If you are in the U.K. this weekend, go see California Schemin'! It's a captivating and wild story of talent and fierce determination, and a proud moment for Scottish cinema.

I know you must be tired

Book, Megan Chapman © 2019 

 
Where are artists supposed to make art? The art that is slow and takes time and tending to like a wild garden? The art that is messy and fucks up the floor and walls? The art that is political and angry? Where are the artists supposed to go for understanding and sanctuary when they don't fit into the touted creative economy of the commercially viable and sanitised? 

Where are artists supposed to show, when every opportunity is a speculative exercise in exploitation? 

Where do the artists get a foothold when accessibility is not considered and they don't follow the usual stilted art speak? Who is place making for them on the liminal plane?