Meganne Rosen

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I moved back to Springfield, Missouri after residing in Oakland, California for two years where I recently graduated with a Master of Fine Arts at California College of the Arts in San Francisco. I completed my Master of Arts in Studio Art and Theory at Drury University in 2011 and hold a Bachelor of Arts in Art History from the same university (2006).

My recent projects include my thesis exhibition at Minnesota Street Project in San Francisco (March-April, 2018); the publication of “Isoluminance, Racial Trauma, and the Stamina of Perception: Amanda Wallace’s Field | House” for the Wattis Institute of Contemporary Arts (May, 2018) and; and my inclusion in group exhibitions in California, Missouri, New York, and Oregon. I am featured in issue 42 (October, 2018) of Studio Visit Magazine and issue 12 (December, 2018) of Create! Magazine.  

Last August and September (2018) I was an artist in residence at LACAWAC in Aerial Lake, Pennsylvania and Byrdcliffe Colony in Woodstock, New York. 

I presented  my paper “Craft, Color, & Contours: The Influence of Pop in Contemporary Art” this April (2019) in the Art & Design Culture section at  the 2019 PCA/ACA conference in Washington D.C. 

My next solo exhibition will be Toxicity and Transparency at ArtLink in Fort Wayne, Indiana and opens November, 2019.

I have served as the vice president of the board of the Springfield Regional Arts Council and am a co-founder of ideaXfactory among many other roles in local arts organizations and arts advocacy. 

This summer (2019) I taught as a member of the Visual Arts Faculty for the Missouri Fine Arts Academy. I currently teach in the Art & Design Department at Missouri State University and in the Fine Arts Department at Ozarks Technical Community college. I have previously taught in the Arts Administration Program at Drury University.

@mromromro on Instagram

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Artist statement

Meganne Rosen

Artist Statement

Observation and curiosity drive my studio practice. Through the investigation of and experimentation with different kinds of materials, I express discontent with the current political climate as well as reflect on my experiences growing up in the American Midwest. My work explores entropy, artifice, consumerism, and my place in the lineage of abstraction in contemporary and modern painting and its relationship with installation art. 

Using found matter, fiber works, oil and acrylic painting, remnant fabrics, and photography (found, and my own), I examine the relationship of each component’s basic materiality and commercial object-hood. Exploiting the mark making and sculptural potential of these entities is central to my practice.

I compose mixed media pieces which are layered in visual dialogues. Some of the works reference the body in scale and are almost costume-like. The work evokes an intimate recollection of garments worn, skins shed, and packaging discarded. Each assemblage or installation is a partnership between the materials I work with and the sociopolitical, cultural context of our times. 

Currently, I am working on a series of oil paintings on transparent acetate. For these works, my palette is inspired by the alluring sheen of oil spills on pavement and the iridescence of polluted sea foam. The intersection of the natural and the artificial is a site of challenge, conquest, and cohabitation. This work explores toxicity through artifice and decay. As light filters through the paint and acetate, ephemeral auras are projected on the walls creating an additional layer of color. When the works are rolled, they become core samples. Black holes of color with little universes enclosed inside. When the various iterations of this series are placed in proximity to each other, a visual conversation emerges between painting and sculpture, density and light, toxicity and beauty.

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