BIO;

Megan Dulcie Dill is an environmental artist whose practice includes painting, land based writing, vernacular knowledge, walking, and collaborative site specific installation with the more than human world. 

Megan specializes in arts and cultural management with training from the Nova Scotia College of Art and Design and Emily Carr University. She is the co-founder and artistic director of qathet Art Centre, a space dedicated to multidisciplinary platforms involving public art, ecology and youth. As an independent researcher, she is interested in how culture is related to nature and how creative ecologies are shaped. She has produced several collaborative art projects including yexay (2023), Future Forest (2018), ArtRaven Youth  (2018-2022) and ReMapping (2019). She has also curated open call exhibitions: SymPoeisis (2025) Earth Bodies (2024) and more than 13 exhibitions in BC, Canada. Megan has participated in artist residencies and projects in Hawaii, Slovenia, Newfoundland (National Parks) and the Great Bear Rainforest and has been awarded both BC (provincial) and Canada Council for the Arts (national) awards and artist project funding. She co-creates an annual Memento Mori Festival, honouring planetary life, loss, death & grief.

Since 2018 she has produced six books: Sea Beneath the Sea, Night Forest, Elderflower, Welcome to Here, Welcome To Here Salish Sea and Being Water with Understory Publishing and Mapping the Heart of Powell River community mapping book and project with the Powell River Diversity Initiative. Megan founded the visual arts program at the qathet Academy of Music and Arts (Megan Dulcie Dill Art Studio) and coordinates various art and literacy programs in the qathet region. 

Currently she is working on a pilot artist housing and residency project using sustainable materials and design in ƛaʔamɛn, Lund, Canada.

ARTIST STATEMENT:

My research questions what we think we know and is concerned with motifs based in ecology, language and voice. This is a discursive practice where object is balanced with experience and visual markers coexist with sound and situation. The work results in a sense of intimacy in the art through feelings of presence/absence.

I live in a small coastal community and try to find connections with things that have meaning for me. I draw from my surroundings and experiences and especially from my community which fuels my everyday inspirations.

The process I use with paint is to create depth through the application of thin layers followed by specific areas of thick dramatic paint.  Following the paint application I start carving and rubbing into the surface; reworking the painting until the result is a luminous, balanced place of dark and light and painterly mark making alongside meditative, resting pools of paint.

The results of this process are paintings that have a perception of moving lines, shifting spaces and disappearing and emerging forms. I choose subjects that interest me in this way, direct experience, and appreciation of place.