I am creating new bodies and organs as extensions of my own. They come from an understanding of the body as something that holds memory, but also something that is constantly producing and changing. The female body bleeds, contracts, expands, and generates; there is no fixed boundary between inside and outside.

In my work, internal structures and fluids become visible. Organs are shifted, combined, and re-formed into new configurations that distort familiar anatomy. Skin no longer acts as a barrier—it becomes malleable and distorted.

I work through abjection by focusing on what the body expels and produces, where internal biological processes become external and disrupt the idea of the body as contained.

There is a fine line between desire and repulsion. Women’s bodies, in their natural state, are both desired and feared. I create new reproductive forms from organs and fluids that exist within this tension, where attraction and discomfort meet.

Bows, lace, and pearls are relics from my girlhood. They aren’t separate from these forms; they exist alongside them, shaping how I express my own femininity.

I am reclaiming my monstrous.

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Meghan Stanley is a mixed media artist primarily focused on ceramic sculpture, living and working in New York City. She creates distorted, biomorphic forms across small-scale and life-sized works, combining clay with silicone, metal, fabric, and paint. Informed by body horror, her work explores the body as unstable, where distinctions between interior and exterior begin to collapse. Through skin-like surfaces and shifting anatomical structures, her sculptures hold tension between attraction and discomfort.