About Fashionably Late Takes
All of my visual essays include hand-drawn images. These time-consuming pencil drawings force me to pick topics that linger. You won’t find hot takes here — these are Fashionably Late Takes.
About Megan Gafford
I am an artist, writer, and retired mad scientist.
In the decade preceding the launch of Fashionably Late Takes, I repurposed unsettling scientific tools like radiation and cybernetics as art materials, to create work that commingled eeriness and elegance. My mad scientist past hints at the kind of ideas that I enjoy writing and drawing about, like the tension between pursuing knowledge and curiosity killing the cat. But this theme is just a starting point.
My visual essay “Pushing Daisies” explains why I am no longer a mad scientist:
Pushing Daisies
You can learn more about my artwork here, which has been shown in galleries and museums across North America, including exhibitions with the Jones Institute (San Francisco, California), Galerie Robertson Arès (Montréal, Québec), SITE Gallery Houston (Houston, Texas), David B. Smith Gallery (Denver, Colorado), the Boulder Museum of Contemporary Art (Boulder, Colorado), and the Backyard Ballroom (New Orleans, Louisiana).
I’m also a regular contributor at Quillette, and I’ve been featured in other publications including the Tilt West Journal, Arc Digital, and Areo Magazine.
You may contact me at megan@fashionablylatetakes.com
Why subscribe?
As a free subscriber, you’ll receive every new edition of Fashionably Late Takes sent directly to your inbox. I publish a new visual essay every two weeks.
Nothing is paywalled, so if you would like to support this publication, please consider taking out a paid subscription. If you do, I’ll email you to request your mailing address so I can send you a handwritten thank you postcard featuring my martini drawing.
And if you really want to support my work, consider becoming a Founding Member to receive a limited edition archival print of a drawing that has been published here. You’ll receive a new print every year that you renew your subscription.
The current print edition comes from an essay titled “To Err is Human,” and looks like this:
The print shop did an incredible job replicating the drawing — the print looks almost indistinguishable from the original!
