The artist’s oeuvre  covers a broad spectrum, from painting and sculpture all the way to performance and installation. In pale, warm shades, Megan Rooney tells stories of everyday life and human interaction in an abstract or representational formal language. Renter’s Paradise (2019) reflects the artist’s interest in everyday objects.  Simple street signs, previously used to convey short and concise messages, are veiled in fabric. Thus deprived of their original purpose, they are transformed into a delicate form of existence that evokes associations with human figures and light, airy objects.

— Magdalena Koschat

The artist, who was born in Cape Town in 1985, grew up in Canada and is currently living in London. In her art she combines a variety of media: painting, installations, performances and language. 
Rooney is a meticulous observer of everyday life. Each work of art starts with a sketch of an everyday theme, which may then turn into a watercolour or a performance.
One recurring element in her oeuvre is human and animal bodies. Both the range of pale but warm colours that dominate many of her works, and the theme of objects hovering in midair speak of a light-hearted playfulness.

— Felix Kucher

While Megan Rooney’s watercolours seem to reveal a delicate suspended state, the three-part sculpture Cigarette burns and soft fuzzy hair (2017) appears to have a floating and airy reality about it. A face, in the centre, only a form; eyes, edged with mascara, look on in amazement at hands as if noticing them for the first time, like a mirror image, grotesque in appearance but with delicate colours in all shades from cool violet and the orange of sunrise, reminiscent of the embers of a burning cigarette.

— Frank Falderbaum