When I was a child I had a dream about the end of the world. Humanity knew the end was near, and collectively chose to walk into the ocean and drown together. In my dream I was standing on the shore holding my dad’s hand, feeling scared at the journey ahead of me and sad that it had to happen. Years later I discovered the work of many, many artists also haunted by the idea of a “drowned world.” There wasn’t a sense of a heaven or hell, just a crossing between two worlds. The world we would enter after embracing death was a mystery
This past fall my partner and I were applying to win a trip to Thailand, and while researching the things we could do while there I came across a holiday called Loy Kratong, in which thanks is given to a river goddess and little boats with lit candles float in the water.
“i felt something in my hand and looked down, there was a hand holding mine – and when i looked up at the person it was the same intruder.”
Megan M. Reilly is a lighting designer and visual artist whose work explores the boundaries between installation art, performance art, new media, multimedia, theatrical design and design-driven performance. Based out of Austin, Texas, her credits there include designs for Paper Chairs, Tutto Theatre Company, Cambiare Productions, Rubber Repertory, the Butler Opera Center, Kathy Dunn Hamrick Dance, Forklift Danceworks, Bayou Radio Theatre / Rude Mechanicals, and the David Mark Cohen New Works Festival. Megan received the 2008-2009 B. Iden Payne award for Outstanding Lighting Design for Ophelia. In Houston she is a member of Divergence Vocal Theater for whom she designs lights and multimedia. Her professional credits also include projects with The University of New Hampshire (Durham, NH), Lakes Region Summer Theatre (Meredith, NH), New Conservatory Theatre Center, The Actor’s Collective, Lunatique Fantastique, and the EXIT Theatre (all in San Francisco, CA).