Megan Lam (°1986, Chicago, United States) makes installations,
paintings and installations. By referencing romanticism,
grand-guignolesque black humour and symbolism, her installations
references post-colonial theory as well as the avant-garde or the
post-modern and the left-wing democratic movement as a form of
resistance against the logic of the capitalist market system.
Her installations are often classified as part of the new romantic
movement because of the desire for the local in the unfolding
globalized world. However, this reference is not intentional, as this
kind of art is part of the collective memory. By demonstrating the
omnipresent lingering of a ‘corporate world’, she creates work
through labour-intensive processes which can be seen explicitly as a
personal exorcism ritual. They are inspired by a nineteenth-century
tradition of works, in which an ideal of ‘Fulfilled Absence’ was
seen as the pinnacle.
Her works demonstrate how life extends beyond its own subjective
limits and often tells a story about the effects of global cultural
interaction over the latter half of the twentieth century. It
challenges the binaries we continually reconstruct between Self and
Other, between our own ‘cannibal’ and ‘civilized’ selves.