• MFA in Fine Arts

  • Andrea Gonzalez
    Byron Peters
    Jacob Wick
    Jaimie Healy
    Jordan Reznick
    Jsun Charles-Jeremiah Parizo
    Julia Robertson
    Julie Feldman
    Kenny Kong
    Nan Peletz
    Sadie Harmon
    Sara Sellitto
    Seth Gutierrez
    Tiffany Canter
    Tim Power
    Zoe McCloskey

  • Megan Lavelle - CCA Graduate Thesis Events

    Megan Lavelle

    Personal Podium
    Assurance™: Your Emotional Insurance
    Assurance™ Set
    'Insurance As Form' Lecture
    Ayn Rand Makeovers: Radical for Capitalism
    Ayn Rand Makeovers: Process
    Ayn Rand Makeovers: Shrouds

    Personal Podium

    2.25 x 2.5 x 4 ft.

    2011 / corrugated plastic, velcro, zip ties.

    Assurance™: Your Emotional Insurance

    dimensions vary

    2012 / Installation, pens, balloons, stamp, business cards, posters, cacti.

    Assurance™ Set

    dimensions vary

    2012 / Installation: fortune cookies, Kombucha, foam, digital prints, three channel video.

    'Insurance As Form' Lecture

    dimensions vary

    2012 / performance

    Ayn Rand Makeovers: Radical for Capitalism

    dimensions vary

    2012 / performance

    Ayn Rand Makeovers: Process

    18 x 24 in

    2012 / digital C-print

    Ayn Rand Makeovers: Shrouds

    22 x 36 in

    2012 / white linen

    Precision Walking Progress

    The Suffocation of No Limbs

    The Phantasmagoria that is Our Actual Experience

    Personal Podium thumbnail
    Assurance™: Your Emotional Insurance thumbnail
    Assurance™ Set thumbnail
    'Insurance As Form' Lecture thumbnail
    Ayn Rand Makeovers: Radical for Capitalism thumbnail
    Ayn Rand Makeovers: Process thumbnail
    Ayn Rand Makeovers: Shrouds thumbnail
    Precision Walking Progress thumbnail
    The Suffocation of No Limbs thumbnail
    The Phantasmagoria that is Our Actual Experience thumbnail
    lavelle.m@gmail.com mlavelle.com

    Artist Statement

    Under U.S. law, corporations are granted legal personhood simply because, as an organization of people, each person’s individual rights are to be considered while acting collectively. This is also considered legal fiction; a special framework to specifically grant the corporation legal personality in the form of a fictional person. This strategic use of fiction blurs the line between person as individual and person as corporation, opening a space of infinite possibilities. My work similarly utilizes fiction as a tool to contemplate perceptions of power and better understand my own sense of “being human”. Grounding my work in bureaucratic and corporate systems allows me to investigate a very complex humanity behind a facade of futility. In fiction, the arch of narrative traces a line of ideals practiced to the shift of the climactic moment. Our humanity is illuminated within this moment as the character becomes a hero or a fool and hope is lost or won. The functions and limitations of the individual are exposed; how they assimilate, recover, and adjust as a being in this world renews a sense of humanness in the viewer. I am currently interested in understanding how systems of power are used to script individual and collective perception. Using elements of mass communication, performance, theater, bureaucratic systems, and standards of corporate language, I investigate scripted culture and the roles we assign ourselves as consumers, citizens, laborers, and lovers.