Paintings, oil on canvas, display case with pencil on paper, light, photograph, title sign, bench

About Swoon

A cycle of paintings occupies the exhibition space, each with a disarmingly muted palette of yellows, pinks, beiges and greys, colours so close in tone as to appear luminously overlit, save for deep black and grey orbs corresponding with the hollows of the mangrove trees, reminiscent of primitive systems of recognition used to test the emotive responses of young babies. During her walks through the Everglades, the hollows riveted the artist as places of refuge and of threat. …. The holes command the central energy of the paintings, functioning as a kind of centrifugal force or void in the conceptual and formal skin of the piece…Lovely, quiet and hauntingly evocative, the paintings move their source material, the forest, through a variety of postures and expressions. The resulting tone of the work is resolute, poetic and direct, as deliberately distilled as the text for the exhibition which has been transcribed carefully by hand by the artist’s young daughter over a period of weeks…. The handwritten prose is presented within a wooden vitrine, constructed specifically for the installation and lit by a single bare bulb… Entitled “The Virtue of Angeline,” Meigs story recounts the tale of a young woman living within extreme conditions of an ecologically threatened environment. …. Angeline is an impoverished young mother who finds herself in desperate circumstances, caring for an infant and longing for a man who is no longer available to her.
— Lisa Baldissera, "Reverie: Swoon and The Newborn," Art Gallery of Greater Victoria, 2002