2024: Year in Review

Hello Dear Readers, 

Well, here we are again, my annual year in review post. I am already struggling to sit still and focus (it has taken me 2 days to finally get it done). This is an important post for me to write so I can actually see and feel what I did. As I always say, this post is more for me than for you so if you reach the end, then gold star all the way! I feel like this year's post may be quite a bit shorter than some. My relationship with my art has changed so much post pandemic. Like many of you, I feel like I have been navigating a lot of complex experiences and many of the things that used to push or motivate me ring a bit more hollow or just don't work like they used to. So much in my life has changed in these last few years and the way I navigate it is changing too. So let's begin.

Job: I am the Rep Coordinator & Caseworker for the Scottish Artist Union. I completed the SAU Rep Training Program Obair 1, 2, and 3 in 2022 and 2023, concluding with the Rep Residential in Crail in March of this year. I have been working as a Rep with the Union since June 2023 and in June 2024, I became a member of staff in my current role. 

It's an honour to help our members navigate the challenges that we all face across Scotland's visual and applied arts sector. I feel so fortunate to do work that is important, meaningful, and within my field, as part of a trade union. I also feel lucky to work alongside my union peers in the rep team, staff and learning teams, and our volunteer executive. We are a small team, working part time and mostly remotely while pursuing our own art practices and other projects. If you are a Scottish artist and haven't yet joined the SAU, please consider joining your union and getting involved! We are stronger together!

SAU and Related Learning Programmes/Events Attended: 

Negotiation Training: Francis Shennan and Joshua Becker

Structurally F–cked: Juliet Jacques in conversation with Industria

When what you get is not enough: SAU’s Political Education Pilot Event 

Funding for Artists Open Meeting: Applied Arts Scotland, Engage Scotland, Scottish Artists Union and SCAN

Introduction to The Inklusion Guide: A kickass guide to making literature events accessible to disabled people: Julie Farrell 

Cyber Security Knowledge Refresher: Craig Steele, Digital Skills Education

Improving Effective Voice, Equality, Fair Work and Health and Safety Rep Course with Scottish Hazards & STUC (the first 2 parts of a 4 part course)

Basic Income for the Arts in Ireland: What have we learned after 20 months: UBI LAB & BASIC Income Ireland

SAU EGM

SAU AGM

Associated Union Actions: 

Mass Vigil for Justice for Sheku Bayoh: STUC: Festival Square Edinburgh

Stop the Culture Cuts Demo: Equity: Scottish Parliament. 

Art Work: I created a huge overarching body of 307 pieces of work on paper consisting of multiple series from my home studio space. I just looked through them all after another long period of inactivity. I am gobsmacked. You have only seen a fraction of these small works. As they are mostly on very delicate paper I am not always sure how to present them. I can't wait for you to see some of these pieces. They really seem suited for a book or reproductions. This right here is why I write this blog for me. I have been feeling like I have not really given my painting enough of my time and energy this past year. I stand corrected. I feel these are some of the strongest and most personal works I have created in a long while. They are small and they are on paper and many of them feature drawing, writing, and mark making as much as painting and they were all created in my home. Oh, the brain plays tricks. 

What I haven't been doing is making them all shiny, presentable, and for sale. I haven't been updating my social media accounts regularly with them either. This year has been about making art for art's sake, the way it was intended. I was able to do this by being supported through my work with the union, a few art sales, my ko-fi patrons, and through other means.

Art Sales: I sold 5 originals to 3 patrons (4 originals on paper and 1 large original canvas). Thank you, Malcolm in Scotland and Jeanne and Jennifer in the United States for supporting my work at the start of the year. I appreciate you more than you can know. 

Gallery Representation: For the first time in 20 years, I am not represented by any galleries. I was represented by Solo Gallery in Innerleithen until July of this year but sadly, Kate decided to close up shop. Another loss for the Scottish Art Community, and especially for the Scottish Borders. Best wishes to Kate - a proper gallerist and a joy to work with.

Art Rental: Well, this is some news that I haven't yet shared, so you are hearing it here first and I have buried the lede. One of my large abstract paintings will be appearing in a film! My painting "In the time it takes" will be in California Schemin' - James McAvoy's directorial debut. I am looking forward to seeing the film and we will hopefully be able to catch a glimpse of my painting. Now, I can say my work has been used in television and film!

Art Licensing: I happily accepted a contract with Image Conscious, one of the largest wholesale art suppliers worldwide, they sell exclusively to retailers, art consultants, interior designers, frame and poster shops, speciality shops, and wholesale framers. In business since 1980, their collection is comprised of some of the world’s finest contemporary artists and photographers. You can read all about that here. If you enjoy my Echoes and Memory series, which is still one of my favourites, and you are looking for quality Megan Chapman prints for an office, restaurant, or any interior- then this is a great option. They even offer framing. If you buy the reproductions through Printano - they offer worldwide shipping and you can purchase in your own currency. 

Art Exhibitions: I participated in 1 group exhibition at the Out of the Blue Drill Hall to celebrate the 30th anniversary of the space. I also marked an anniversary this year -  I have now lived in Scotland for 10 years and I have had my studio at the Drill Hall for 10 years too!

Studio: There were no formal open studios this year at the Drill Hall. I found this very unfortunate, as that is one my favourite parts of having a studio. I miss being able to connect with the public. Regular open studios are also one of the most lucrative ways for artists to make money.

Unfortunately the rent was raised for the studio in December. Currently, I am able to keep my studio due to sharing the space with 2 subletters and the fact that I have 5 regular patrons who graciously support me monthly to offset some of these overhead costs. I know many artists across Scotland are facing this same dilemma currently. Do we stay or do we go? You can read a popular post I wrote about this issue, here.

Home Studio: Thanks to my pal and supporter Annie Milovic for helping me walk home an easel from my studio at the Drill Hall, as well as grab another piece of found furniture off the street and into my flat so that I could create a new home studio space this past year! These 307 !?! pieces would not exist without her kind offer of assistance and a friendly nudge back in January. 

Kofi Patrons: Currently, 5 amazing women regularly support my work and help me to offset my art business overheads. Thankfully, each month I am supported by Jennifer Libby Fay, Tamsin Haggis, Jennifer Douglas Arbuckle, and Annie Milovic and posthumously by Pat Bremner. Thank you all so much. Thank you also to my three one-off supporters this year, Ash, Kev, and Paul. Consider becoming a regular supporter or just leave me a tip. It all adds up and really makes a difference! 

Speaking of supporters, my dear friend and great patron, John Kay died earlier this year. I couldn't bring myself to talk or write about it as it seemed so sudden, shocking, and awful at the time, and honestly it still is. John supported my work, my spirit, and was always good for a laugh, musical comradery, and a funny Billy Idol meme. His passing threw me for a loop in the spring that took me awhile to come out of. I will endeavour to stay free, my friend, but it's a bit harder and less fun without you here. Sending love to all his friends and family who may happen across this post - and especially to his dearest daughter, Kirsty. 

Friday Studio Blog: I posted 52 weekly blogs. Thank you for checking in here. At first the posts were mostly selections from my works on paper and then we started to pick up speed towards the end of the year and the words came pouring out. I am proud of some of my writing this past year. 

Tuesday Studio Video Visit: Oops! I recorded none! Do I bring these back in 2025 from my new home studio space? Hmm.

Archive: I did manage to update and add some more pieces to my Archive. I will continue to work on this and let you know when it is in tip top shape. There is just so much work - we can see why...

Artist's work I collected/supported: Jenni Douglas, Fiona Thompson and Chris Donnelly of Cyan Clayworks, Victoria Ross, Ailsa Ferrier of Roadside Picnic, Kenris MacLeod, Crail Pottery, Vanessa Bullick, Adelaide Shalhope Exhibition Catalogue from Iota, Adrian Slatcher & Steven Heaton, Maria Bowler, Paul Furneaux, Louise McLaren, SNACK mag Fundraiser, Neuk Collective Fundraiser, Subatlantic, Interpol and Armistead Maupin (3rd time to see him since moving here). Thank you for all of your work. I love living with and experiencing your creations. 

Travel:

Crail, Fife - SAU Rep Residential (gorgeous and wild - I love Fife)

Innerleithen, Scottish Borders (best vegan haggis pie, among other things)
Glasgow (on 3 separate but equally wonderful occasions. I love you, Glasgow)
USA (Unbelievably warm - a gorgeous autumn - good luck and godspeed- y'all come visit)

Besides working on my art and my union work, I made time to read a few books, watch films, see Interpol (2 years in a row and for the 8th time!), listen to loads of music (on repeat), walk in nature, meditate, study a bit of Japanese, and enjoyed some local culture with my friends. And I finally made it back to Arkansas (as mentioned above) to spend some quality time with my parents and see a few friends for 3 weeks this autumn.

Note to self: Megan, my dear... You are enough. You do enough. You live enough. You create enough. You are good enough. I am also super proud that you took care of your teeth, had your hearing tested, had your eyes checked and got new glasses, and you took part in that fitness study. You faced fears, you learned, you grew, you grieved, you experienced really dark days as well as unabashed joy and wonder. You maintained and fostered relationships. You said no and you advocated for yourself and others. Thanks for being good to yourself.

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As I did last year, I dedicate this post to my dear friends and patrons who are no longer with us. I have been fortunate to have been seen, understood, and supported by some amazing people and that is a gift that sustains me. Thank you. I will keep fighting and I will stay free.

Love always to my family of charcoal dust near and far and thank you to everyone who has supported my work as an artist and as a person. I couldn't do this without you and I wouldn't want to. 

Keep fighting. 

2023: Year in Review

I can't believe it's that time again but here we are. It's time to take stock of my art life for the last year and share it with the few of you who will read it. 2023 was a complex year. I think most humans can say that. I think the last 5 or so years have really put us all through the paces. But to quote Maya Angelou, "Still I rise." I hope you are rising too. 

I get pretty overwhelmed trying to summarise my art year in one blog post. I am going to try to keep this one a bit shorter for my sake as much as yours. Usually, I do this in a month-by-month format and use previous blogs to remind myself but I don't think I have that in me this time. 

Work: I created two new bodies of work that I am proud of, as well as a few stragglers, and several works in progress. 

Sales: I sold 13 originals, 10 prints, 2 t-shirts, 1 tote. 

Exhibitions: I participated in 2 group exhibitions both at the Out of the Blue Drill Hall with my studio peers. 

Gallery Representation: I am represented by Solo Gallery, Innerleithen, Scotland. Fabulous gallery! Gallerist Kate sold two of my original paintings this year. 

Stockists: Blunt Knife, Edinburgh carried and sold my Polly, Mabel, and Vera Prints. They have closed up shop for now. Keep your eye out for future happenings... 

Open Studio: I participated in 2 Open Studio Days on the 3rd and 10th of December. First Open Studio since before the pandemic. It was good to have the public in the studio again - thanks for your support.

Fundraisers: I launched a fundraiser to benefit Bicycles for Refugees (to support them in their robbery recovery): We raised £325.28 thanks to my lovely patrons. Thank you!

Mentoring sessions: I offered 2 sessions of mentoring this year with a wonderful Scottish painter. Thank you for trusting me with your process. I also donated my time to advise many other artists during the year as well. Pay it forward.

Friday Studio Blog: I wrote 52 weekly posts. Thank you for checking in here. 

Tuesday Studio Video Visit: I produced 22 weekly video visits (I missed 30 videos and I am okay with that). What will happen in 2024? Subscribe to find out.  

Artist's work I collected/supported: Jenni Douglas, Julia Laing, Mairi Brown, Fiona Thompson, Cyan Clayworks, Tim Bremner, Jacqueline A Higgs SSA, Stephen Bithell, Tokes Sharif/Studio Brae, and Catriona Clark. Thank you for your work. I love living with your creations. 

Scottish Artists Union: I continued to attend the Rep Training sessions that started last year. I participated in parts 2 and 3 this year and took on the position of the Lead Rep for the union, working with the rep team and initially shadowing more experienced team members while learning on the job since June. I have progressively become even more involved in my position since September. I am honoured to be part of this small, hard-working team. Doing work that I find meaningful and empowering is a gift. I am grateful for the opportunities and experience that I have been given by the union and the trust shown to me by the team and my fellow members. 

Join a Union!

Training and Learning:

Scottish Artist Union Rep Training Part 2: 5 sessions

Health and Safety, Fair Work Contracts, Rates of Pay, Insurance, Intersectional approaches to Equality, Diversity, and Inclusion

Scottish Artists Union Rep Training Part 3: 4 sessions

Neurodiversity, Casework, Members Enquiries, 

SAU Learning Programmes Attended

One Shared Owner: ‘Artist-Led Organisations in Scotland: Survey and Mapping of Activity’ an overview of the key findings.

In All Our Stimming Brilliance: Neurodiversity in Contemporary Arts Practice (3 Sessions)

First Aid for Mental Health 6-hour Course - Accredited SCQF5

Self-initiated study: 

Offered through TUC (Trades Union Congress): Online Education Courses

Earning Digital Credentials in the following:
Organising
Facility time awareness
Universal Credit
Health and Safety and organising
Real Living Wage
Menopause Support in the Workplace

I also attended The Scottish Union Learning Annual Conference.

Besides my art and my union work, I made time to read books, watch films, see Interpol, listen to loads of music (on repeat) walk in nature, meditate, and enjoy some culture and my friends. I really enjoyed photography this year as well (a medium I have always enjoyed but mostly kept for myself). I especially enjoyed my family members who visited from the States! 

I also grieved, and got COVID for the first time, and then just 3 months later, I caught some horrendous cough that was going around and yet here we are. I felt frustrated by social media, society, and the heaviness of the strife around the world. Yet, still, I rise. We rise...

I hope you are well, happy, and inspired wherever you are, dear reader. And if you are not, that is okay. Tomorrow is another day. The world needs you and the gifts you bring. 

Thank you to my patrons, Solo Gallery, my monthly and one-off Ko-fi Supporters (you all have no idea what your regular support means to me - thank you!), Thanks to the Scottish Artists Union and my friends and family. Here's to 2024. Peace to all beings. 

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I dedicate this post to my beloved Theo. The best cat in the world. I miss you with everything and still talk to you all the time. Tears come and my throat tightens. You are in my heart forever. I also dedicate this post to my dear patrons who are no longer with us. I have been fortunate to have been seen and understood by some amazing people and that is a gift that sustains me. Thank you. I will keep fighting. 

My family of charcoal dust. x

When I go there

Created by master miniature artist 'Ryu Seung Ho', South Korea.

I was waiting to go to a meeting this morning and the news of the world was getting me down and social media was doing no better. I switched over to Pinterest which at times can serve a bit like a weighted blanket for my psyche. The AI curated images filled the page and the above image was one of them. My jaw clenched in excitement and my palms began to sweat. I had to look closer... oh my heaven what is this? For a minute I didn't know what I was looking at - is this a painting? Is this a photo, wait - what is this? I slowed down and realised it was a miniature, a 3D model, and then expertly photographed to imply scale, space, and atmosphere. 

I had to share it on Facebook because to me it felt good, it brought me joy and nourishment. I wrote "...a wondrous image... The light and everything in the space sing songs back and forth to invite you in. What a composition." And then I got on with my day. 

Later (after another superb Scottish Artists Union meeting), I checked Facebook and my friend and patron, Rosa Macpherson (who once inspired a whole body of work simply with a comment) had written under the above image, "Could you give a little explanation of your views on your weekly blog? I’d love to know more and what you see in the light that makes it sing songs… how this miniature world speaks to you?"

And so here we are. It is a good exercise to put these feelings and thoughts into words - to slow down and explain myself. 

First, let's go back to my initial reaction to this image. This for me, is a gut punch to the senses because I don't just view this world- I get sucked into it and suddenly I am in the light, I am in the space, I feel the air - I feel the heavy shadows. These lines are crisp- they are talking. The miniature modelling is done to perfection, but the photography and light really bring the scene to life so that we can go there. Viewing this image is like playing with a dollhouse as a child but we don't play with a dollhouse, do we? We go inside it, move the furniture, and live there as long as possible. These types of images have an incredible effect on me. 

For me, the light is sentimental, hot, and harsh. I feel nostalgia for a place I have never been. Ryu Seung Ho's work calls to my mind several of my favourite artists shown below. Can you see or feel a connection?

Wayne Thiebaud (American, b. 1920.) 24th Street Intersection Study, 1978.
Watercolor on paper, 10 x 14 in./25.4 x 35.5 cm. © Wayne Thiebaud.

Richard Diebenkorn’s Cityscape #1, 1963. Illustration:
2014 The Richard Diebenkorn Foundation

Gregory Crewdson, Starkfield Lane, 2018–19,

digital pigment print, 56 ¼ × 94 ⅞ inches (127 × 225.7 cm)

Edward Hopper, Rooms by the Sea, 1951, Oil on canvas

29 1/4 × 40 in. (74.3 × 101.6 cm)

Bequest of Stephen Carlton Clark, B.A. 1903

Yale University Art Gallery

I feel that these pieces share a certain lineage and understanding of time, space, and light as well as shadow and line. The artists use these elements to pull us into the image and help us to create a narrative.

Looking back to the original image and the "singing" that I referenced... 

Ryu Seung Ho

This artist knows the power of the diagonal and the photographer and or the person responsible for this crop knows the rule of thirds. The metal frame chair in the foreground pulls you into the scene and then shoots you from the foreground to the desk chair and then up the blue wall to the light cutting across into another diagonal. These are all brilliant methods of encouraging our eye to move through the space which then allows our brain to inhabit it as well. The harsh shadows and lines are pulling and (yes I would say, singing, vibrating, calling, summoning us) to come in in in. I have to write it like that in hopes that it helps you feel the way it might feel in my brain when I see this image. In, In, In, - to this emphatic, yearning, real-time - space. Look at the slant of the shoeshine box - pulling you in. Look at the shadow of the safe, pulling you in. The line across the blue and white wall is pulling you into the back corner. 

Now we have to remember that this is actually a 3D space in miniature, that has then been reduced to a photograph, but it has such painterly attributes that it is very hard for me to not think of it as such. The colour is doing double duty here as well. Look at that orange oxide in the right corner and then skip over again to the warm colour of the wood in the shoeshine box and then the cool grey-blue of the metal desk and then bam! back up the blue wall. In, In, In. This piece serves as a colour study as well, and nothing is an accident. I mean that green box on the corner of the desk - it just makes me want to cry - it works in tonal perfection with the desk. 

These lines and shadows are songs, these are stories, and these colours are sensibilities served with particular punctuation. Composition is key in this world yet just dishevelled enough to be believed but also meticulously planned so that it hits all the sweet spots in our brains. Well, in my brain. But also can't you just feel it? Or hear it? 

Singing, crackling, and dynamic - in this work I have gone somewhere unexpected, and through it, I can see my own world anew.

Permission to rest

A work in progress and my studio from back in the day. Look at all those canvases. 

This week got away from me or did it? 

I attended two union meetings, mentored a brilliant artist, had a doctor's appointment, went to my studio for a bit of a clear out, received some work back from a gallery, had a video chat with an artist pal about artists' working conditions, and recorded my Tuesday Video Visit. 

And then I took it easy - I have permission to rest. I finished watching Station 11 and tonight is the season finale of Severance - no spoilers! Severance is probably one of my favourite programmes since the first season of Twin Peaks. Highly recommend. 

I'm still not painting much this year - and it's already April. I am not sure I have ever gone this long without making new work. I think I am okay with it. I think much of my previous work was fueled by internalised capitalism and built upon a foundation of doubt and fear. That wee truth bomb is brought to you by the union and a lot of personal work. The good news is that I don't have to work like that anymore.

However, I will say, I have been seeing flashes of work in my mind's eye again lately and that's always exciting. There's a new plan for the studio at the drill hall afoot which could be beneficial, fun, and see me working there a bit more soon as well... I will keep you posted. 

Here's the Tuesday Studio Video Visit if you missed it. A very general demystification of art exhibitions and galleries - and just a few things to think about. 

I will leave you with a reminder of the Abstractionistas Exhibition News: 

Current:
Awakenings, Detour Espresso, 

39 Argyle Place, Marchmont, Edinburgh until April 17th.
M-F 9-4pm and Sat-Sun 10-4pm 

Future:

Inception, Dalkeith Palace, 

Dalkeith Country Park

May 6-8 

Learn more and get your tickets: https://www.dalkeithcountrypark.co.uk/event/inception-art-show/

Enjoy my video visits, photos, writing, and art? Support my work on ko-fi. 

https://ko-fi.com/meganchapman 

Thanks! And as always, keep fighting!

Are you a Scottish Artist? Consider joining your union.

Are you a UK Artist? Here's a report on the working conditions of artists that you might be interested in reading.

The old ways don't work

My head is spinning from everything I have learned in the past 3 weeks with the Scottish Artists Union. I took a 12-hour course called, "Let's get organised! A 101 for Organising the Arts" The title doesn't do the course justice - there was so much more to it than that. It was deep and personal, it gave me a new framework to see my past, present, and future - and I am grateful.

I am not sure if I can even begin to express how I feel about it yet. It solidified a lot of ideas that have been kicking around in my head for decades and gave me the words to understand many of my beliefs on a new level. The additional resources provided during the course excited and overwhelmed me. I am eager to learn more and it also seems like I could never learn enough! 

I had been thinking of how I would miss the course when it concluded on Thursday. However, I am delighted that I was asked if I would be interested in participating in a pilot scheme for a Fair Work Representative development training course starting next week. "The training will cover the role of reps; an overview of Fair Work; Advocacy and Organising; and Equalities." I am really looking forward to this further training and what the future may hold for me within the union. 

Since the pandemic, thanks to more of the learning programs being offered online, I have been able to access some brilliant content provided by the SAU. It's not just about paying your dues and getting your liability insurance, the union offers so much more! I am really thankful. 

So, that's where I am coming from just now and you can rest assured there will be more specific and deeper insights shared in future posts. 

In other news, I wasn't out and about quite as much as the week before, but I was invited to a lovely home-cooked dinner with two good friends. We sat around a big wooden table enjoying our steaming bowls of noodles as we shared information, worries, and laughs, and for a couple of hours, I forgot about the pandemic. Magic! 

This week I went on a field trip with the Abstractionistas (Judith Shaylor and Susan Wilson) to the fabulous Dalkeith Palace to see the room we will be showing our work in for the Inception exhibition coming up in May. Besides this, the aforementioned union meetings punctuated the week, as well as an hour of mentoring a very talented artist. I had a few health-related tasks and appointments to take care of this week as well - reminding me again of the preciousness and value of Scotland's National Health Service. I will never take it for granted. 

So while I am not creating art currently, I am participating in the art world within a social action context, along with working with the Abstractionistas on our future exhibition, and mentoring a fellow artist as she explores her process and personal goals.

I have also enjoyed some sunshine, nature, and a bit of culture this week - two television shows, Severance and Station 11 both seem to tie in perfectly to what I am thinking about in regards to workers, work, capitalism and our ever-evolving world. 

The old ways don't work. 

It's time to dream and organise.