As a current M.F.A Sculpture candidate at the Rhode Island School of Design, Megan Solis also received her B.F.A from the University of Texas at San Antonio. Solis concentrates on performance art with a strong conceptual, multi-disciplinary practice. She has exhibited in solo and group exhibitions at The McNay Art Museum, the University of Texas at San Antonio, Albright College, and the San Antonio Art League Museum. Her work can be seen in art collections such as the Mexic-Arte Museum. Internationally she has exhibited at the Czong Institute of Contemporary Art Museum in South Korea. Solis has also gained international exposure through a 2015 artist residency at Arteles Creative Center in Haukijärvi, Finland, and in 2016 completed an artist residency following a solo show at Hello Studio in San Antonio. Forthcoming she will be exhibiting at Sweet Pass Sculpture Park in Dallas, Texas.
I deconstruct romance novel tropes and the monstrous feminine to reclaim ‘hysteria’ as historical imprisonment of femme mental health. This is displayed through my anti-heroine, Glory West, a lovesick, self-proclaimed Texas country-western singer.
Through fictional character performance and Texas landscape, she reveals the surrounding cruelty of hopes and desires. I am thinking now of how parasitic relationships between feeding, care, and trickery can depart into codependency; how we can lose ourselves and even start to embrace deceptions of toxic manipulations.
Initially, a love story, Glory West’s odyssey has transformed into a perverted psychological horror, one that has been constructed by all of our authorships. As voyeur’s, we are not completely sure of the bizarre events that occur in this fiction. Love potions, ghostly apparitions, and body resurrections, can we decide whether these tableaus are real or just a concoction of Glory’s mind?