Art 10 Art Influences Art Practice Art Vocabulary Artist's Philosophy Artist's Studio Inside the Artist's Studio

Inside the Artist’s Studio with Megan Wynne

Hello Dear Readers, Art Lovers, Art Makers, Art Writers…well, Everyone…Hello, Hello

I want to follow in the same vein as James Lipton and ask similar questions to artists. I figured it would be a great way for both Art Lovers and those interested in Art a peek into the Artist’s studio life and philosophy. In turn, I want to provide artists with more exposure as well. Making connections for everyone, essentially. It works both ways and I’m really happy talented and funny artist and recent San Francisco Art Institute MFA graduate, Megan Wynne, decided to be my first artist to answer the Art 10 – Inside the Artist’s Studio questions! Thanks again, Megan!

Questions and Comments are certainly welcome! Enjoy this first installment!

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Art 10

1. What is your favorite (art) word?

This may be a boring answer, but I like the word “aesthetic”. I like the sound, the way it rolls off the tongue, and the spelling of it, the “a-e” thing. I also love the word “visceral” even though its not technically an art word alone, I use it a lot when talking about the gut response to a piece of art. It relates to my present body of work, “viscera”.

2. What is your least favorite (art) word?

I’m going to have to go with two words on this one because it ruins one of my favorite words, “relational aesthetics”. I find the term irritating and too esoteric.

3. What keeps you going when you’re in the studio?

Its usually my interest in learning about the subject matter I’m addressing in the work, the research aspect to the process.

4. When do you know you’re done in the studio?

When I start to feel like I’m going to fall asleep or vomit. Its always a physical reaction/symptom that tells me I need a break. As far as completing a piece is concerned, I never really feel like my work is ever finished.

5. What words do you love to hear at an art show (your show or any show)?

Its not so much words, but I often like it the best when people laugh when they look at my work. My work isn’t only supposed to be funny but its nice when they get the joke.

6. What words do you hate to hear at an art show (your show or any show)?

Once I was at the SFMOMA and a father who was holding is little boy came up to Duchamp’s Fountain and loudly said “Now that’s art” as sarcastically as possible. He acted like he was addressing his son, like it was some absurd art lesson he was giving him, but the joke was really intended for me to overhear, as I was also looking at the piece at the same time. He thought he was so funny. I believe we are all entitled to our own opinions about artwork, but it was irritating that the guy presumed that anyone else within hearing range of his voice would obviously have the same opinion as he did.

7. What is your favorite curse word?

The present participle of the “F” word.

8. What profession other than being an artist would you like to attempt?


9. What profession would you not like to do?

Nurse – they seem to have to do all the hard stuff.

10. If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates?

I’m not mad at you for being an atheist.

You can learn more about Megan’s work by visiting her website.

By Dorothy R. Santos

Dorothy R. Santos (b. 1978) is a Filipina American writer, artist, and educator whose academic and research interests include feminist media histories, critical medical anthropology, technology, race, and ethics. She is a Ph.D. student in Film and Digital Media at the University of California, Santa Cruz as a Eugene V. Cota-Robles fellow. She received her Master’s degree in Visual and Critical Studies at the California College of the Arts and holds Bachelor’s degrees in Philosophy and Psychology from the University of San Francisco. Her work as been exhibited at Ars Electronica, Fort Mason Center for Arts & Culture, Yerba Buena Center for the Arts, and the GLBT Historical Society.

Her writing appears in art21, Art in America, Ars Technica, Hyperallergic, Rhizome, Vice Motherboard, and SF MOMA’s Open Space. Her essay “Materiality to Machines: Manufacturing the Organic and Hypotheses for Future Imaginings,” was published in The Routledge Companion to Biology in Art and Architecture. She is a co-founder of REFRESH, a politically-engaged art and curatorial collective and serves as the Executive Director for the Processing Foundation.

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