Meghan Paterson is an artist working and living in Vancouver, BC. The daughter of a pirate and an art teacher, she began developing her abilities at a very early age while living on a tiny island off the coast of Victoria. No longer tagging seashells like a miniature graffiti artist, Meghan now works on canvas. The subject matter, often beautiful women and men, initially looks impressive and painterly, but it's the second glance that incites the true impact: the eyes that stare back at you seem to confess a story told through the muted tones and sparse accessories contained in the work.

Acting as a co-curator for The Cheaper Show (an annual, one-night showcase of 150 artists) and working out of the Cartelera Talent House (a space shared with 13 other artists), Meghan is immersed in all aspects of being an artist—which keeps her incredibly busy. I was thankful to have had the chance to catch up with her.


Can you tell me more about your current working space?

MP: We started Cartelera Talent House almost two years ago. It's a Studio on Main Street. Although most of us work alone, collectively we are unstoppable. We are painters, photographers, writers, filmmakers, window display masterminds. It's a fun and inspiring, if not totally distracting environment to work in.  


Since 2000, you seem to have penetrated the art scene in Vancouver and beyond rather well. What do you feel has been the biggest asset enabling you to do so?

MP: My involvement with The Cheaper Show over the last seven years has really allowed me to have a continued presence in the arts community here. Curating that and other solo shows has put me in contact with a lot of artists doing interesting things in the city and beyond. I am now also helping out with a new arts/culture website out of Toronto called www.kingshit.org. They are hoping to create an online magazine to garner exposure for Canadian artists of all mediums and disciplines. 


You've listed Egon Schiele and Tamara Lempicka as influences, as well as Margaret Killgallen, who helped lead you into your own niche. Is there anyone who is currently having an impact on you and your work?

MP: I can tell you whose work I'm a fan of. But the ones you listed are definitely what shaped my work as it is now. As for contemporary, I love Tiffany Bozic's paintings. But the people that most have an affect on my work these days are the people around me. Graeme Berglund, Ben Tour, The Dark, Chris Allen, Michelle Ford. These people drive me to make heartbreaking artwork. I am so awed in their talented company.


Much of your work focuses on portraits, drawing out physical and subversive beauty through brushstrokes. Why do you lean in that direction?

MP: Truth and Beauty. I have never had a bold statement with my paintings. I never wanted to say anything. What I hope to get is an emotional response to the images. It's deeper than just a pretty face. What I hope to create is a layer of emotion—be it lust, or heartbreak or angst—hinted at just below the surface. I think that the viewers recognize themselves in this. Painting is what I filter all my thoughts and emotions through. It's bound to be visible.


And how does that process work for you?

MP: Not really sure what to say… sometimes it comes and sometimes it doesn't, like anything. When I paint, I don't think about it literally. It's not a "put this colour here, more shadow there." It begins and my brain is just kind of left to wander at will.


Where do you see yourself headed as an artist?

MP: As a portrait artist, something I've always been interested in is bringing back the very classic family portrait: the man of the house in a chair, greyhound at his feet, etc. And I'm very interested in the classic still life, the cask of wine, grapes, skull, tapestry. Both of these things I would like to explore with a contemporary twist.