• about_megan
Upon first look, Megan Geckler’s work seems to be digital in nature; the colors are vibrant and unreal. Her installations are created with flagging tape, a mass-produced colorful plastic ribbon utilized on construction sites and assembled by hand alongside crews of assistants. Geckler’s process always begins with a site-visit during which she takes countless photographs, measurements and observations of the unique spaces in which she will work. This information is then translated into three-dimensional architectural drawings that help Geckler understand the site and aid in her ability to transform everyday elements of the architecture into focal points for her site-specific artworks. An installation can take a single day, or be completed over a series of weeks, depending on the size and scope of the project. In either case, each space is transformed into an immersive environment in which the viewer is given multiple pathways to experience the installation on their own terms.

Geckler has been exhibiting in galleries, museums and alternative spaces since 1998, with many shows in the United States and soon exhibiting around the globe. She has worked with clients such as Urban Outfitters, Nike, Bobble, and the Los Angeles Department of Cultural Affairs, and has mounted solo shows at the Wexner Center for the Arts, the Creative Artists Agency, Utah Museum of Contemporary Art, Museum of Art and History, and the Pasadena Museum of California Art, among others.

To read about Megan Geckler’s conceptual process in her own words, please click on “Artist Statement” below, or click on “Résumé” to review the entire arc of her career.

Born 1975, lives and works in Los Angeles, California


1999-2001 Master of Fine Arts, Sculpture – Claremont Graduate University, Claremont, CA
1994-1998 Bachelor of Fine Arts – Tyler School of Art, Philadelphia, PA
1997 Glasgow School of Art – Summer Abroad Program, Glasgow, Scotland
1993-1994 Pre-Med Program – University of Vermont, Burlington, VT

Solo Exhibitions / Projects

“A million things that make your head spin”, Customs House, Sydney, NSW, Australia
“We’ve got to cross this great big world somehow”, LAX Airport, Los Angeles, CA

“Let’s forget has torn me apart”; Flintridge Preparatory School, Los Angeles, CA

“Rewritten on machine by new technology”; Museum of Art and History (MOAH), Lancaster, CA
“No chance to look backwards and see”; Utah Museum of Contemporary Art (UMOCA), Salt Lake City, UT

“Flag Tag”; TEDActive, Palm Springs, CA

“A fraction of the sum”; Andi Campognone Projects, Pomona, CA
“Lay it down and start up”; Creative Artists Agency (CAA), Los Angeles, CA
“Seeing thoughts in repeat”; Space 15 Twenty, Los Angeles, CA
“There’s lights and sounds and stories, music’s just a part”; PØST, Los Angeles, CA

“Spread the ashes of the colors”; Wexner Center for the Arts, Columbus, OH
“Every move you make, every step you take”; Pasadena Museum of California Art, Pasadena, CA
“Twisted under, sideways down”; LAX Airport / DCA Public Art Program, Los Angeles, CA

“Straddle the line, in discord and rhyme”; Women & Their Work, Austin, TX

“When all of the water is gone, the feeling lingers on”; Lather, Old Town Pasadena, CA
“Here in my car where the image breaks down”; Lendrum Fine Art, Hollywood, CA
“And when it’s over, set aside a moment to forget”; Arts Council for Long Beach, Mobile Exhibits, Long Beach, CA
“Set a course for wayward schemes”; Bert Green Fine Art, Project Windows 5th and Main Streets, Los Angeles, CA

“Where the lights unravel”, Vincent Price Museum, East LA College, Monterey Park, CA

“Fill it up and pour it down the inside”, Torrance Art Museum, Torrance, CA

“Web in front”, University of LaVerne, LaVerne, CA
“Megan Geckler and Paul Yanko”; superior (an exhibition space), Cleveland, OH

“Automatic”; Miller-Durazo, Los Angeles, CA
“Perspective”; East Gallery, Claremont, CA

“I want specifics on the general idea”; East Gallery, Claremont, CA
“Multiphrenia”; Dillingham-Caples Gallery, Claremont, CA

“Smoothed in and spaced out”; Tyler Hall, Tyler School of Art, Elkins Park, PA

Selected Group Exhibitions

“Office Hours”, Beta Main Museum, Los Angeles, CA
“City of Los Angeles (C.O.L.A.) 2015-2016 Individual Artists Fellowship Exhibition”, Los Angeles Municipal Art Gallery, Los Angeles, CA
“Reunion”, ANDLAB, Los Angeles, CA
“Newtown to Albers: Color Theory to Creative Practice”, Cypress College Art Gallery, Cypress, CA
“Artificial Realities”, East Wing Biennial, Courtauld Institute, London, UK

“Going Big”, Central Booking, New York, NY

“Erection”; MAMA Gallery, Los Angeles, CA
“Packed and Jammed”; Glendale Community College, Glendale, CA

“Artrageous”; Palm Springs Art Museum, Palm Springs, CA

“Top 10 Now: Where Contemporary Art in L.A. is Headed”; Avant-L.A., Los Angeles, CA
“Playtime”; See Line Gallery, Pacific Design Center, West Hollywood, CA

“Megan Geckler is a gem”; 7 Artists 7 Rings, The Huffington Post (online)
“Megan Geckler and Carrie Ungerman”; The Windward School, Culver City, CA

“Megan Geckler” – Visual Artists Salon at the National Performance Network (NPN) and Visual Artist Network (VAN)
Annual Meeting; Knoxville, TN

“Staying Alive”; Winslow Garage, Los Angeles, CA
“FR8”; Art on the Waterfront, Commissioned by the City of San Pedro and the
Angels Gate Cultural Center, San Pedro, CA

“From America”; Museum of Modern Art (MOMA)- Minsk, Belarus, Russia

“Tarfest”; Craft and Folk Art Museum, Los Angeles, CA

“9th Annual Holiday Show ”; Ruth Bachofner Gallery, Santa Monica, CA
“Tinseltown”; domestic setting, Los Angeles, CA
“The more you know, the less you need”; Ruth Bachofner Gallery, Santa Monica, CA
“Gridlock”; West Los Angeles College, Los Angeles, CA
“Merge”; ANDLAB, Los Angeles, CA
“Sequel”; Domestic Setting, Los Angeles, CA

“Valedictories”; Raid Projects, Los Angeles, CA

“Big Plastic”; Armory Center of the Arts, Pasadena, CA

“MacGyver”; Crazy Space, Santa Monica, CA
“Ten by Ten”; Miller-Durazo, Los Angeles, CA

“Seizure”; Artplace, Los Angeles, CA
“Southern California Open 2000”; Gallery 825, Los Angeles, CA
“Affinity”; Coagula Art Projects, Los Angeles, CA
“Inland Specific, Installation Artists Living in the San Gabriel Valley”; Pomona College Museum of Art, Pomona
College, Claremont, CA
“Wall Space”; Miller-Durazo, Los Angeles, CA
“Mixed Media 2000”; Period Gallery, Omaha, NE

Grants / Awards / Residencies

City of Los Angeles (C.O.L.A.) Individual Artist Fellowship, Department of Cultural Affairs

Santa Monica Fire Station #1 Public Art Project, Finalist
San Antonio Pedestrian Bridge Public Art Project, Finalist
Denver Regional Transportation District, Arvada Ridge Station, Finalist
Los Angeles County Metro Blue Line, Crenshaw / LAX Corridor Glass Pavilion Artwork, Finalist

Maryland Metro Red Line, Baltimore Inner Harbor Station, Finalist

Ningbo Port Park, China, Finalist
The Platform, Culver City, CA, Finalist

Visual Artists Network Artist in Residence at Women & Their Work, Austin, TX

Durfee Artists’ Resource Completion (ARC) Grant in conjunction with “Set a course for wayward schemes”

Fundraisers / Benefits

“PØST Benefit Auction”, PØST Gallery, Los Angeles, CA


“Art of Elysium”; MAMA Gallery, Los Angeles, CA

“10×10”; Pasadena Museum of California Art, Pasadena, CA
“Artrageous”; Palm Springs Art Museum, Palm Springs, CA

“Incognito”; Santa Monica Museum of Art, Santa Monica, CA

“HAUSguests – A Benefit for the Region of Darfur”; Brewery Project Space, Los Angeles, CA

Corporate Collections

Four Seasons Resort at Walt Disney World, Orlando, FL
Creative Artists Agency, Los Angeles, CA
Nike, Portland, OR

Lectures / Panel Discussions


The Courtauld Institute – (Un)Real Panel Discussion
Wimbledon College of Arts – Guest Artist Lecturer

Silicon Beach Fest – “Design Across Mediums” Artist Talk with Kluge Interactive

Santa Barbara City College – Guest Artist Lecturer

California State University San Bernadino – Guest Artist Lecturer, Graduate Studio Visits

Utah Museum of Contemporary Art – Q&A with exhibition curator, Micol Hebron

Art Center College of Design – Guest Artist Lecturer

Pasadena Museum of California Art – in conjunction with solo exhibition “Every move you make, every step you take”
Wexner Center for the Arts – conversation with Kaleidoscope Youth Center in conjunction with solo exhibition “Spread the ashes of the colors”

Women and Their Work – in conjunction with solo exhibition “Straddle the line in discord and rhyme”

Santa Ana College – Art Forum Lecture Series

Santa Monica Museum of Art – Emerging Artists Education Program for Children
University of LaVerne – in conjunction with solo exhibition “Web in front”
Chaffey College – Materials and Meaning Panel Discussion

The Armory Center for the Arts – Artists’ talk in conjunction with “Big Plastic”

Pitzer College – Environmental Installation Guest Lecturer

Teaching Experience (*Denotes full-time employment)

Design 1, Glendale College

Two Dimensional Design, Cerritos College, Norwalk, CA

Beginning Drawing, Fullerton College

Basic Design, Fullerton College
Design 2, Glendale College

Basic Drawing, Glendale College / Hoover High Outreach Program, Glendale, CA

Fundamentals of Sculpture, Fullerton College, Fullerton, CA

Drawing for Non-Art Majors, Fullerton College

Interim Full-time Professor of Sculpture, Fullerton College

Two-Dimensional Design, Fullerton College
Design and Color Theory, Fashion Institute of Design and Merchandising (FIDM), LA

Two-Dimensional Design, Chaffey College, Rancho Cucamonga, CA

Color Theory, FIDM, Los Angeles

Elements of Design, FIDM
Beginning Drawing, Chaffey College
Fundamentals of Art (Art History and Appreciation), Cypress College, Cypress, CA

Two Dimensional Design, Fullerton College
Beginning Drawing, Citrus College, Glendora, CA

Three Dimensional Design, Citrus College

Alternate Materials and Practices – Graduate Seminar, Claremont Graduate University

Sculpture Counselor for At-Risk Youths, Philadelphia Parks and Recreation Department, Philadelphia, PA

Please click here for a full list of press

The bulk of my work lies within the area located between art and design. Each space in which I work informs the optical order and systematic reasoning that is the foundation for my process. An entryway offers multiple pathways and destinations – each with their own readymade focal point, a soffit becomes the departure point of the piece and the work speaks of the architectural facets and quirks of the space. A shipping container’s depth and repetition of indentations becomes the inspiration for a giant swirling aperture into an endless tunnel. Upon completion, these architectural site-specific installations share the cool slick look of advertisements, backdrops for fashionable clothing, and high design products. Made of translucent plastic, they simulate and reference our idea of “the future” and camouflage the handmade quality of the work.

The site-specific architectural installations are assembled from thousands of strands of flagging tape, a colorful plastic ribbon utilized by surveyors to demarcate space on construction sites. This anonymous material is located on the periphery of our everyday life, manufactured in a wide array of colors and coded for multiple practical uses. When distanced from their intended applications, this material lends a manufactured quality to the pieces. The translucency of the material has encouraged me to experiment with light in later works, designing and fabricating diffusers, or sometimes building around the florescent tubes themselves, which share the industrial territory of the flagging tape. The tape becomes the surface and a point of departure for color studies, achieved by layering the material over itself, much like a painter would use a glaze, exponentially increasing the limited palette that is available.

There is an inherent immediacy in the materials that I use, and the manner in which they are crafted is obvious and deliberate. Generally, a gesture is repeated over and over until the area is completed. Large-scale installations are defined entirely by their surface, hollow on the inside, challenging the notion that sculptures have both weight and volume. Essentially drawings in space, they bisect and alter our perception of the architecture and become seemingly kinetic as the viewer’s orientation changes. This phenomenon occurs as a result of the combination of our sensory system with the physics of light. Often disorientation is experienced when the stripe patterns intersect and appear to slide in opposite directions. This fascinates and delights viewers, as they frequently encourage each other to view the work from a certain direction to experience this phenomenon. The end result resembles an updated three-dimensional version of string art that shares the seemingly kinetic territory of the Op Art and Light+Space movements. These site-specific projects are also strongly influenced by minimalism, but retain a sense of play and delight.