Megan Majewski’s girls, with their pastel complexions and neo-Lolita air, are heroines of a modern imagination, complete with tea parties and post-apocalyptic versions of the future. With a background in film, Megan uses her ability to inject life into the lifeless, and creates whimsically nightmarish depictions of a quaint underworld. Mary. Wylona. Kandy. There is an element of longing shared by many of Majewski’s subjects. There are the circus temptresses, and the gas mask vixens, but also the little girls surrounded by just a few of their favorite things. Their expressions framed by sugar skull make-up, Majewski’s characters seem just as spunky as the artist herself.

Her acrylic ability is impressive in the way she can mimic the fading quality of watercolor on a wooden canvas. She incorporates animals into her scenes, often as pets or companions to the leading female, creating a body of work akin to a dia de los muertos menagerie. Her portraits, with the stature and subtle smiles of their subjects, remind me of eerie nineteenth- century photographs, replacing sepia tones with a carefully selected color palette.

Majewski’s work also touches on femininity in a particular way- it’s emphasized in doe eyes and mascara tears just as much as it is in blood-stained throats and metal limbs. Even her male figures, like the one in “Chocolate Stand” are effeminate. If I were to select a deity to encompass the spirit of Majewski’s work, it would be a raven-haired, victorian Shakti.

Megan is incredibly impressive in the way she promotes her artwork, having participated extensively in solo as well as collaborative shows. All her pieces are in the same style and carry an unmistakeable Majewski quality, yet each one is interesting enough on its own. Her work is a surreal representation of that spot in another dimension where little girls, dead stewardesses, corpse brides, and freak show ringmasters all converge over a game of Candyland.


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