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Born in 1993 in Nelspruit South Africa, Megan-Leigh Heilig grew up in Johannesburg, graduated from the University of the Witwatersrand with a Bachelor in Fine Art (BFA) in 2015. In 2017 she completed her Masters in Fine Art (MFA) at the University of Cape Town. She is currently pursuing advanced practice-based research at the Higher Institute of Fine Art (HISK) in Gent, Belgium. Megan has exhibited in the Seven Hills 2nd Kampala Biennale: Virtual Mobilities 2016, curated by Elise Atangana, with a focus on selected video. In 2017; and was selected for KraftaDoc Film Festival in Glasgow. She was also selected to participate in the International Video Art House Madrid (IVAHM), curated by Nestor Prieto. In 2017 she participated in the Digital Africa project between YaPhoto and Open Source curated by Christine Eyene; a series of video art screening in London, Tokyo, and Yaounde. As well as a group exhibition titled Somewhere In Between at BOZAR in Brussels and the Antwerp Queer Arts Festival in 2018. In October 2019 she will be exhibiting in the 21st Biennial Contemporary Art Sesc_Videobrasil | Imagined Communities.


Megan has intervened in project and public spaces through various other site specific and collaborative projects. Megan's work consists of a range of diverse mediums and collaborative practices; including multi-layered installations consisting of sculpture, printmaking, photography, video and film. 

“But whatever I am, or have since become, I know now that slipperiness isn’t all of it. I know now that a studied evasiveness has its own limitations, its own way of inhibiting certain forms of happiness and pleasure. The pleasure of abiding. The pleasure of insistence, of persistence. The pleasure of obligation, the pleasure of dependency. The pleasures of ordinary devotion. The pleasure of recognizing that one may have to undergo the same realizations, write the same notes in the margins, return to the same themes in one’s work, relearn the same emotional truths, write the same book over and over again - not because one is stupid or obstinate or incapable of change, but because such revisitations constitute life.” 

Maggie Nelson, Argonauts

Dinning Room 2014_3