Rodgers, Margaret

Artist Bio:

Margaret Rodgers is an Oshawa-based artist with exhibition activity including IRIS at 20 (CWSE) at OISE, and RMG Oshawa, FILMIC , Station Gallery, Whitby, Closeups at RMG 2015, No Man’s Land (Erring on the Mount festival, Peterborough),  The Tree Museum: Easy Come, Easy Go (AGP), WhiteOut, TAC Art/Work Gallery, Toronto, and OshawaSpaceInvaders, 2013-14. In summer 2018 she exhibited solar prints at Fort St. John North Peace Museum, B.C.  International exhibitions have included Mexico, Beijing, and the Adirondacks.

In 2008 she created IRIS in the North Country in Saranac Lake, NY, with further exhibition activity there in 2010 and 2013. For 2015/16,  she was curator of Crossing Borders, an exchange between BluSeed Studios and VAC Clarington. In 2017-18 she was Guest Curator for LEGACIES at RMG Oshawa.

She is founder of the IRIS Group, a collective of women artists, formerly art professor at Durham and Centennial Colleges, and Director/Curator at VAC Clarington. She is the author of Locating Alexandra (Toronto: ECW, 1995) about Painters Eleven artist Alexandra Luke, and is published in venues including Art and Ecology, Sculpture, Urban Glass, Canadian Art, ESPACE, and the Journal of Canadian Studies She has been a member of Heritage Oshawa and Oshawa’s Cultural Leadership Council. 

Artist Statement:

I am working in various media including painting, drawing, and photo-based work with particular interest in solar printing. At present I am employing a range of processes to create a series of text and image based pieces using the crossword puzzle as form and various theoretical language silos as content. That said, painting remains the pivotal element in the process.

At first the project was a playful riff on buzzwords and current preoccupations, while exploring ways to use paint and chalk along with text and grid formations. But in revisiting the early French feminists, I have found value once again in their literary/psychological territories, often maligned for their density of prose. In my work, their eyes and smiles look out against a grid structure that hints at their ideas.

The use of vintage linens as surface for photographic fragments produces a textured collage effect. Each piece is on a substantial ground of acrylic paint, over rag paper base, making a supple and malleable surface upon which to build, then mounted and framed for ongoing stability.

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