Introducing Meg Hitchcock, a painter turned type artist by way of Springfield, Vermont. Now living in Brooklyn with her husband since 2006, Hitchcock is found to be well versed in the destruction of religious text — and that’s just a pragmatic one-sided description of her work.
What she really does is transcend our consumption of religion to greater heights; moving us to truly understand and rethink the instrument of religion and the purpose it serves. Moreover, she dismantles the word of God into something that we can all digest and garner nourishment from. She razed the soil of religion, making way for a more pure fruit.
When we first saw Hitchcock’s work, we said, “Wow, how cool.” At the time, the construction and configuration of her pieces struck us more than the actual context of her work. We thought she’d be the perfect centerpiece for our Type Issue. The meticulous nature of The Satanic Verses had us enthralled. The timely elegance of Song of the Evertree has us wooed.
There was no question, if we were this captivated by Meg Hitchcock, our readers would do nothing less than pledge their undying allegiance to her artistry. In an effort to give our readers a chance to do so, we spent a little time with Hitchcock last week where she invited us into her home; allowing us to view interesting personal artworks that had nothing at all to do with type. We also accompanied to her studio on Bogart Street where gave us insight as to what her works represents and the transition of her identity as an artist.
Again, Meg Hitchcock isn’t merely rearranging holy prose with the help of glue; she is revolutionizing our spirituality.