Megan Marrin (born St. Louis, Missouri) is a New York-based painter[1][2] known for her blithe, starkly represented subjects consisting of birdcages, medieval torture instruments, exercise equipment, and botanical scenes, among others.
Simpler’s Joy and Skullcap (both 2018), which picture sinuous flowering vines encased in human-shaped iron gibbets, are contoured with canvas stretched over Styrofoam.
[4] Marrin’s diptych for The Quality of Presence, curated by Dmitry Komis at the Chelsea Hotel, New York in 2012 consisted of architectural castings of window frames and screen doors.
[citation needed] Dobson and Marrin have presented two exhibitions together: at Renwick Gallery, New York in 2012, and later, Capitalism’s Kids (2014) at Dold Projects in St. Georgen, Germany.
[7] Marrin’s 2017 solo show with David Lewis Gallery followed the course of a corpse flower bloom, represented in the style of a vanitas or memento mori.