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Francis Irv is pleased to present Babylon, a solo exhibition by Megan Marrin.
Hanging throughout the gallery are eleven paintings, near-exact replicas of mid-1960s cultural souvenirs: works dictated less by choice than by availability, what could be found, gathered, and copied. Produced by three companies, the original hangers were often sutured together from celebrity photographs paired with hand-drawn adornments, resulting in images that hover between the authentic and the ersatz, the familiar and the fabricated.
Marrin’s practice has long traced the way objects stand in for the body, regulating its image and use, without ever depicting it directly. In Babylon, that logic shifts: the body arrives through its displacement, subsumed into celebrities-cum-surrogates. The figure appears here not as a corporeal form, but as a model, a manufactured imprint that once again defers the presence of the human.
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Press Release
Francis Irv is pleased to present Babylon, a solo exhibition by Megan Marrin.
Hanging throughout the gallery are eleven paintings, near-exact replicas of mid-1960s cultural souvenirs: works dictated less by choice than by availability, what could be found, gathered, and copied. Produced by three companies, the original hangers were often sutured together from celebrity photographs paired with hand-drawn adornments, resulting in images that hover between the authentic and the ersatz, the familiar and the fabricated.
Marrin’s practice has long traced the way objects stand in for the body, regulating its image and use, without ever depicting it directly. In Babylon, that logic shifts: the body arrives through its displacement, subsumed into celebrities-cum-surrogates. The figure appears here not as a corporeal form, but as a model, a manufactured imprint that once again defers the presence of the human.
