Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process
Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process
Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process
Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process
Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process
Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process
Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process
Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process
Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process
Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process
Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process
Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process
Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process
Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process
Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process
Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

Based on her personal experiences and observations of our collective expression of femininity Flirting with Monsters considers that which exists outside established social norms and clichéd notions of the ideal female form. Megan’s creative process sets portraits of women and still life images against a backdrop of powerful Icelandic landscapes, exploring and questioning our obsession with beauty and a contrived ideal form of femininity. This project seeks to instigate a new dialogue around female subjectivities.

show thumbnails