Meghan Moe Beitiks
‘Untitled (Hinkley)’, 2018
Video, 5’ 53”
Meghan Moe Beitiks, gathers multiple forms of understanding—visual, academic, personal,
physical, material – together in her work. She makes space for difference. She does this in
order to articulate some ways in which all things (yes, literally all things) are conceptually and
Meghan attempts to be conscious of her limits, biases and prejudices within the process, while
acknowledging the effect that the perceptions of others have on her. Research guides the
work’s final form. It ends up being video, performance, installation, writing, whatever the process
demands. She strives to combine the various realities she encounter into as comprehensive an understanding or embodiment of a single “thing” as she can muster. These “things” have included Neutrinos, The Weather, Processes of Recovery, Apologies and Forgiveness. The most urgent connections for her to articulate are between the human and the nonhuman, the emotional and the material, the descriptive and the enacted/embodied. Ultimately she see Her work as a series of exchanges of meaning. A reflection on relationships. An acknowledgment both
of connection, and the impossibility of true understanding.
She received her BA in Theatre Arts from the University of California, Santa Cruz, where she studied playwriting, acting, movement and scenic design. She has an MFA in Performance Art from the School of the Art Institute of Chicago, where she studied Bio Art, Social Practice, Environmental Chemistry, and performance methodologies.
She has presented work in California, Chicago, Brooklyn, Wales, London, Latvia, Australia and Russia. She has been a Fulbright Student Fellow in Theatre to Latvia, a MacDowell Colony Fellow, an OxBow LeRoy Neiman Fellow, a Bemis Artist in Residence, and the School of the Art Institute of Chicago’s recipient for the Edes Foundation Prize for Emerging Artists.
About the work:
The re-performance of a single sigh from the 2000 movie "Erin Brockovich," filmed around the real-life town of Hinkley, California, and infused with imagery and audio from the film. The artist reads text from a 2012 Environmental Impact Report detailing the aftermath from the pollution depicted in the film, and efforts to contain the toxic groundwater plume since the film's release. With thanks to Marissa Lee Benedict, Lindsey French, Elise Cowin and Christine Shallenberg.
Social Media: @culturenaturestructure