Long before it was fashionable, when green was more commonly associated with the color of golf pants, Meg Webster was making work that reflected her interest in ecology, recycling, and the environment. In the late 1980s, taking a cue from Land Art and Minimalism, she began to explore the complicated relationship between nature and technology in installations and sculptures that often combined natural materials with minimal shapes—elements that she has continued to use, especially in a number of large public art installations in the last 10 years. Combining an economy of means with the allure of modern commodities, her recent work is infused with a slyly political edge that yields unexpected associations.
