Megan likes the idea of her work being ‘on the edge' - questioning the differences between what may be socially acceptable and outright criminal. Recent works have concerned subjects such as ‘Identity’, which used a variety of personal numbers and data that related to her life (passport, PINs, bar codes and so on); another work involved mailing people with cameras and instructions to take images and return them to her. Of those returned, 20% contacted nude photographs and 40% were of pets. Other works in this genre include: ‘Tradition? 2012-13’, using stencilled porcelain slip overlaid onto graffiti found in Sunderland and Hartlepool; and ‘Hell Yeah 2012’, a response to a graffiti covered wall, using water-jet cut Delft plates.
Megan has exhibited in the Baltic Centre for Contemporary Art, at the first British Ceramic Biennale and, this year, in Washington DC. Opportunity beckons and although her creative work may indeed be ‘on the edge’, her artistic future, post-PhD, looks much more secure!