Morag Myerscough

One of the perks of working at an Arts University is being amongst the ambience of constant creative energy and activity. Within this environment you can’t help but feel infused by imaginative upliftment. The campus also homes a gallery which last month featured the visually vibrant work of Designer/Artist Morag Myerscough. The ‘We Make Belonging’ exhibition stood out to me in the gallery pamphlet like a brightly coloured blissful rainbow amongst the turbulent times of today. I was intrigued to learn more about this wonderful woman who merged pop-art esq patterns and poetic prose to brighten up towns and to bridge a sense of belonging amongst visitors from all walks of life. ‘Make happy those who are near and those who are far will come’. I searched the internet for a more in-depth bio and came across a 2018 Design Indaba talk in which Morag shared her story from her bohemian background and family’s circus roots to her current journey of transforming schools, offices, hospitals and concrete jungles into play pits of techno-colour joy.

The talk tied in with the biography displayed at the entrance of the ‘We Make Belonging’ exhibition in which Morag shared her story. She spoke about feeling like an outcast at school and how, when she had found her artistic flair and fit in life, it enabled her to break free from her inhibited cocoon and soar amongst society with colourful wings. Her words convey a passion to connect and lead the way for others through creative fun and frivolity. The 2019 ‘Love at First Sight’ installation illustrates this ethos and was staged at the Look Again Festival in Castlegate, Aberdeen. The artwork is underpinned with a personal narrative for Morag, as Aberdeen is where her parents initially met as a musician and embroiderer inhabiting the same boarding house. Poet Jo Gilbert was also involved in the project and he provided the words from residents regarding the city. All this was brought to life with performance and music. Morag utilises local audiences to share thoughts on history/heritage and to paint patterns in each location to fully capture identity and enhance community.

Another notable performance piece was the 2014 ‘Temple of Agape’ shown at Southbank, London for the Festival of Love. This attracted over a million members of the public and was described as a homage to humanity and an ’interactive symbol of devotion to love in all its forms’. Morag sought inspiration from her travels and specifically stated that a temple in Delhi captured her attention for its unusual composition against a concrete flyover. The title was cleverly conceived, and Agape is an adept word meaning ‘the highest form of love or charity’ in Greek. The Temple had a show-stopping aesthetic style and simultaneously hit the heart with the tender words of the Martin Luther King quote ‘Where do we go from here?’ weaved in neon amongst the wooden panelling. Love benches lined the entrance to the Temple and the exciting exterior was centred with beams of natural light and a more neutral contemplative space.

Morag has merged colour and community to spread her version of love and acceptance in some of the most sombre spaces. Her message is more pronounced in this present confusing climate and her art works help boast our wellbeing and allow us to reflect upon the importance of our link to one another. She has passionately played with design to allow us to re-claim our entitled birthright of belonging.