A TEN MINUTE VISIT TO ELIZABETH MEGGS’ “FOUND & LOST” SOLO EXHIBIT OF ART & DESIGN
PRINTS, POSTERS, FABRIC DESIGN, AND CLOCKS AT SWEET LORRAINE GALLERY IN BROOKLYN, NEW YORK
Here’s a ten minute video visit to Elizabeth Meggs’ recent solo art and design exhibit “FOUND & LOST” at Sweet Lorraine Gallery in Brooklyn, New York this summer:
This video is by the up-and-coming filmmaker Shamell Mason.
“FOUND & LOST” was a solo exhibition of work by Elizabeth Meggs that ran from August 6–31, 2022, at Sweet Lorraine Gallery, located at 183 Lorraine St., 3rd Floor, Brooklyn, NY 11231. The opening event was held August 13, from 6 to 9 pm, with an outdoor reception on the roof deck.
Artist-designed work was featured, including prints, posters, fabric design, and clocks. The exhibit explored the discoveries and losses many have experienced in the world in recent years, from profound themes such as hope, time, or love, to mundane items such as umbrellas. Intended as a vibrant, colorful, and fun summer exhibition, this exhibition and opening event were a personal expression by Meggs of gratitude for life, and a catalyst for seeing friends and building community through August, after recovering from being hit by a car and sustaining a head injury in late April of 2022.
The exhibition included work done during the darkest days of the Covid-19 pandemic. A large scale version of the HOPE poster that Meggs designed for the Hope Poster Wall in Richmond, Virginia, was on display. This poster was featured in Print Magazine’s “The Daily Heller.”
Meggs’ “Care Squares” design that raised funds to support 3,000 meals via Feeding America, as well as a full wall-sized version of colorful “Art Hearts” graphics were in the exhibit. Fabric inspired by legendary English hill figure known as the Cerne Abbas Giant; a mixed-media cheeseburger self-portrait (made by Meggs in response to the car crash incident and head injury); and a broken umbrella linocut installation further amplify the titular “Found & Lost” theme by making nods to history, identity, and humor.
More than 25 “Art Clocks” also filled the gallery, presenting Meggs’ exploration of time via color and form. Meggs relied on a decade of experience as a non-representational geometric color-centric painter to consider the possibilities of how form and color might be rendered functional while being visual poems as measurements of moments. Read more about the “Art Clocks” here.