Solo Show- The Green Room, University Club, Downtown Santa Barbara
Inspiration Gallery, Santa Barbara, August 2018, ongoing
SBVA Gallery, 1019 State St, September 2-December, 2018
"Nature Abstracted," Wildling Museum, Solvang, CA, October 2, 2018-February 4, 2019
Mesa Artists Studio Tour, November 3-4, 2018, 11 am -4pm daily
I find myself circling around landscapes, with some more realistic, some more abstract pieces, until I feel I have captured the feeling of a place at a particular moment in time. It delights me when other people respond to my work with a sense of recognition, not necessarily of the the view, but of a shared human feeling in nature, whether serene or raw.
Currently, I live mostly in California, but I grew up in the Northeast, and travel a lot. Most recently, I spent three months in the south of France, painting plein air practically every day. With strong ties to Massachusetts, I spend time in and around the marshes and ocean, and the hills, in that rugged state, with its pronounced seasons.
My great-grandfather started the first organization that helped people preserve private land for future generations,the Boston-based Trustees of Reservations, and I have been involved in saving open space much of my life. To live along the beautiful and warm Central Coast of California, where so much open space has been preserved by artists, and where I can almost always paint outside, is a daily joy.
Juror's Choice Award for "Worship" Juror: Rick Stich, SCAPE show to benefit the Gaviota Coast, Bacara Resort
2nd place , Abstract show, Carpinteria Arts Center for
Juror: Hugh Margerum
Juried into SCAPE show to benefit Wildling Museum
"Winter Wave," acrylic and oil, and "Sunrise Cliffs"
both paintings of Leadbetter and Shoreline Park views,
"Sunrise Cliffs" won Honorable Mention
Juror: Eric Merrell
June, 2015, "From Hills to Harbor" won second place at the Artists Guild of Santa Ynez show, "The Road Less Travelled" Juror: Chris Pavlov
May, 2015- Meg's painting, "Campus Point from Hope Ranch," was chosen for all the publicity for Carpinteria Art Center's summer show, "California Dreaming"
November 6, 2014
Juror's Choice Award for "Nojoqui Trickle" Channing Peake Gallery, SCAPE Santa Barbara County Parks Show,
Juror: David Gallup
October 25, 2014
September 19, 2014, Honorable mention for pastel, "Fire in the Canyon" at the SCAPE show celebrating 50 years of the wilderness act at the Arts Foundry, Santa Barbara. Juror: Patty Jaquemain
June 14, 2014 2nd Prize for pastel over monotype, "What Lies Beneath" in the Carpinteria Arts Center Show, " Driven to Abstraction" and Honorable Mention for oil painting, "Hills to Harbor"
Juror: Rick Stich
CURRENT SOLO SHOWS
"Two Rivieras: Santa Barbara and France", University Club of Santa Barbara, Ongoing, with regular changes of paintings
RECENT GROUP SHOWS
CarpinteriaThe Island Brewing Company, 5049 6th St., Carpinteria, December 21, 2017-January 28, 2018
5x5 at Westmont's Ridley-Tree Museum,
Abstract Art Collective
"In with the New"
January 8-February 18, 2018
55404 Carpinteria Ave.
Westmont Museum , January 2018, 5x5 to celebrate Vestment's 80th Anniversary, http://www.westmontmuseum.org/5x5Celebrating80Years.html
"The Local Scene," Distinctive Art Gallery, 1331 State Street, Santa Barbara (just up from the Arlington)
Mesa Artists Studio Tour, Distinctive Art Gallery, 1331 State Street, Santa Barbara
Plein Air Tuscany Open Barn Show, October 29, 2017
2017 Carpinteria Plein Air Painters-June-August, 2016, Zooker's, Carpinteria
Mayor's Office, Santa Barbara, California, October 2014-February 2015
Carpinteria Plein Air Painters, Spring, 2014, 2015, 2016, 2017, 2018, Zooker's, Carpinteria
Westmont Museum , September 2014, http://www.westmontmuseum.org/5x5CelebratingFiveYears.html,
Santa Barbara Arts Fund, November, 2014
"Nojoqui Trickle II" was juried into the show, "Nature in Motion" at the Wildling Museum in Solvang, California.
SCAPE-Bacara Show to benefit the Gaviota Coast Conservancy,2013, 2014, 2015, 2016, 2017, 2018; Fairview Gardens show, February, 2016, Art Along the Creek, 2013, 2015, 2016; Carpinteria Arts Center, 2013, 2014, 2015, 2016, Artist Guild of Santa Ynez, 2014, 2015, 2016
From Plein Air Magazine:
EXHIBITION: "Near and Far: Plein Air in County Parks," at Channing Peake Gallery
Bob Bahr Reporting
Editor, PleinAir Today
SCAPE (Southern California Artists Painting for the Environment) are featured in this exhibition, with sales benefiting the Santa Barbara County Park Foundation.
Scene Magazine, January 2, 2015, Joseph Woodard,
ART REVIEW: Art for parks' sake
Members of the SCAPE group of plein air painters show work done in, and about, Santa Barbara County Parks and Beaches
January 2, 2015 10:37 AM
"Near and Far:
Plein Air in County Parks"
When: through February 12
From the article "Near and Far Plein Air in County Parks" in the Santa Barbara News Press, December 4, 2014
"The juror for this exhibition was David Gallup, a nationally known Plein Air artist and teacher, who has won numerous local and international awards, and is represented in museum exhibitions and collections nationwide.
Juror’s Choice Award was given to Meg Ricks for Nojoqui Trickle; 1st Place to Nancy Freeman for Goleta Beach: Shank of the Day, and Honorable Mentions to Marsha Burtt for From the Bridge II, Larry Iwerks for Along the Coast, Daniel Linz for Shacks at the Beach and Jerry Martin for Rocky Nook – Canyon Light.
In addition, three paintings from the exhibition were selected for Percent for Art Program purchase by the County Parks Department offices: Shacks on the Beach by Daniel Linz, Sage Oak Cloud by Filiberto Lomeli and In the Shade by Leigh Sparks.
SCAPE has designated that 40% of all their sales will benefit the Santa Barbara County Park Foundation. "
The entire article, with a list of all artists whose work was selected for the show, is here:
Scene Magazine, July 4-10, 2014
ART REVIEW: Liquid Visions, Left of Reality - A GROUP SHOW, OF ABSTRACTION, THAT REVEALS EXPRESSIVE POSSIBILITIES IN THAT ZONE
By Josef Woodard
July 4, 2014 7:43 AM
'Driven to Abstraction'
When: through July 21
Where: Carpinteria Arts Center, 855 Linden Ave. in Carpinteria
Gallery hours: 10 a.m. to 4 p.m. Thurs. through Mon.
Sometimes in the case of a group art show juried by a well-known artist, the observing eye can't help but loop back in contemplation to the juror's own aesthetic, and play mix-and-match in the viewing process. Such a phenomenon could be in effect for visitors to the Carpinteria Arts Center at present, where the show "Driven to Abstraction" seems to bear some proximity to the approach of its juror, the respected Santa Barbara-based artist Rick Stich.
Or maybe our imagination is getting the better of us.
In the inherently fluid perspective in much of painter — and avid surfer — Mr. Stich's work, going back decades and including a memorable tribute to Handel's "Water Music" at the old Ruth Shaffner Gallery, watery qualities and essences are imbued in the very form and content of the art. Similarly, many of the artworks culled for the Arts Center show tap into aspects of fluidity — in terms of suggested references or art-making process. At the same time, though, Mr. Stich's selections in the gallery also take detours around and away from the realm of the liquid. So much for neatly workable juror/artist relationship theories.
As also seen in the current Abstract Art Collective exhibition at the Jewish Community Center, variations on the naturally diverse and personal theme of abstraction begin to state their cases from the outset, in the entryway of the Art Center space. (It is essentially a nicely-retooled old house, nestled on a large property currently expanding and spreading its wings into a larger Art Center in this idyllic beach town).
Freely considered expression and an intuitively, colorfully outfitted ambience come to bear in Mary Dee Thompson's painting, which comes from another artistic place and attitude from Jo Merritt's more strictly geometric structure. Dalayna Grace Christenson's "Rising from the Ashes" projects a subtly thematic underscoring, with its crinkly surface and sense of metamorphosing materials, while Dougall Christenson's "Abstruse" lives up to its evocative title with its dark, insinuating abstract markings over a foggy warm backdrop.
In Beth Schmohr's "Contemplation" (the show's first place winner, incidentally), bursts of color activity lurk and wriggle amidst murky gray-ish wash areas, with a kind of restless, disrupted quasi-pictorial logic. Yet the pictorial logic is clean and neatly laid-out in Karen Luckett's "Venice Beach by Day and by Night," a horizontal composition divided by light and darkened halves, with calligraphic gestures scrawled on the surface, as if representing the kinetic and human action in that specified topography, while left to the imaginative machinations of the abstractionist milieu.
Odes to bodies of water do crop up in the flux and flow of the show, as in Meg Ricks' "What Lies Below," a refreshingly muted and subtle pastel piece in the company of visually louder works, with vague allusions to the art and misty feel of seascapes. The sinuously organized and joyously-hued "Ode to Swan Lake," by Ann Fraser, is less a water vision than it is an example of the power of music as inspiration and reference point for abstract painters, going back to Kandinsky, and, yes, including Mr. Stich's own work.
Speaking of art echoing art historicist precedents, CK Lord's distinctive and slightly mystical "One," with a monolithic stone-like form and patch of earthy brown floating above a sludgy gray zone as a base, triggers memories of such classic abstractionists as Philip Guston and Mark Rothko. Roxanne Aquiline's sense of abstraction veers in yet a different direction, with the deceptively tidy but essentially irrational construction of forms and numbers and in her seductive piece "Space and Time."
In the final rub, a potential point of commonality is hinted at in the title of Marie Arnold's piece, "Inner Landscape II." Through the pleasant visual haze of her expressive scheme, again with calligraphic markings meandering over hazy warm color zones below, the artist seems to be aiming at giving form and semi-improvisational verve to inner urges, where the abstract muse is best suited to articulate the artistic landscape in need of external, and ultimately public, statement.
Ditto, most of the pieces in this show, with or without links to fluidity in the mix.
Arts: Southern California Artists Painting for the Environment (www.s-c-a-p-e.org/ ) , Goleta Valley Art Association ( www.tgvaa.org/ ), California Art Club associate member, (www.californiaartclub.org), Artist Guild of Santa Ynez (www.agsyv.org), Carpinteria Arts Center ( www.carpinteriaartscenter.org), Concord Art Association (www.concordart.org, Concord, Massachusetts)
Conservation: Trustees of Reservations, The Trust for Public Land
I've been very lucky to have great art teachers all my life, starting with my mother and grandmother, who loved to paint and create things. My 8th grade art teacher gave me my first individual show. Dr. Burkey and Mr. Dale, in high school, were unforgettable. In college, my art mentor was Joe Stefanelli, an abstract expressionist who had studied with Hans Hoffman and with whom I studied figure painting. Art Student League instructors were friends and mentors as well. As an adult, I have learned from wonderful, generous, friends, from workshops and critiques with Wyllis Heaton, Mike Hernandez, Randall Sexton, Gaye Adams, Hank Pitcher, Karl Dempwolf, Larry Iwerks, James Armstrong, Tony Askew, Deborah Breedon, Chris Chapman, Michael Drury, Tom Henderson, John Iwerks, Catherine Kehoe, Marilee Krauss, Rick Stich, Thomas Van Stein and William Wray.
FREQUENTLY ASKED QUESTIONS
Are prints available?
High quality archival giclees, by Letitia Haynes, of Distinctive Art Gallery, are available for almost all work.
Are paintings sold framed?
Prices are given for unframed work.
How do I buy a painting?
Please contact the artist.
How do I arrange to have a painting shipped to me?
Contact the artist at email@example.com, or telephone 805 729 4620, or contact the artist on Facebook at Meg Ricks Art
What does NFS mean?
NFS = Not For Sale. The piece has already been spoken for or is going to be kept in the artist's collection permanently.