3. How would you describe your work in three words?

Tactile, emotive, layered.

4. What materials or techniques do you use, and why are they important to your process?

I primarily work with embossed tin, printmaking, and collage. Tin allows me to create intricate, tactile surfaces that catch the light, while printmaking and collage introduce layers of meaning and texture. Collage is especially important to my process—it lets me assemble fragments, creating something new from what already exists. I love the way torn edges, overlapping textures, and unexpected compositions can communicate emotion in a quiet but powerful way.

5. Can you tell us about a favourite piece you’ve created and the story behind it?

One of my favourite pieces is a small embossed tin work that reads What if it all goes right? It started as a personal mantra, a way of challenging my tendency to catastrophise. When I shared it, I realised how deeply it resonated with others. That phrase has since become a recurring motif in my work, reminding me—and those who collect my pieces—that hope is always an option.

6. What does a typical day in your studio or workshop look like?

My studio days are varied, but they usually begin slowly. I struggle with transitions, so I ease into work by tidying my space or flicking through scraps of paper and materials for inspiration. Once I get started, I might spend hours embossing tin, cutting metal, layering collage elements, or working on prints. I often hyperfocus and lose track of time, so I try to build in breaks to reset my perspective.

7. Do you have any unique rituals or habits that help you stay creative?

I often start by playing with materials without a clear goal—moving bits of paper around, embossing a scrap of tin, or printing something imperfectly. This helps me loosen up and get into a creative flow. Listening to music or a podcast can also help shift my mindset.

8. How do you handle creative blocks? Do you have any strategies or tips for overcoming them?

Creative blocks are difficult, especially when I feel pressured to produce work that will sell. When that happens, I return to making for myself—collaging with no intention of sharing, embossing something small just to feel the texture under my hands. Taking a walk, shifting materials, or reminding myself that not everything has to be “good” also helps.

9. What’s the biggest challenge you’ve faced as a maker, and how did you overcome it?

Balancing the emotional and financial aspects of creative work. I often tie my self-worth to how well my shop is performing, which leads to burnout. Learning to separate my creative practice from external validation is an ongoing process, but breaking tasks down, giving myself permission to experiment, and allowing myself to rest has helped.

10. What’s been your proudest moment or achievement so far?

Collaborating with institutions and brands such as the V&A, The Body Shop, Net-a-Porter, the Natural History Museum, and Fortnum & Mason has been incredibly rewarding. These projects have allowed me to push my creative boundaries, work on a larger scale, and see my work in unexpected contexts. Beyond that, my proudest moments are often the smaller, more personal ones—seeing my work resonate with people, hearing how a piece has brought someone comfort, or running workshops that spark creativity in others.

11. What’s your favourite quote you’ve ever heard about your work?

Someone once said my work felt like

That stuck with me.

12. Where do you draw inspiration from for your work?

I’m drawn to quiet moments—fragments of conversations, light hitting a surface, the texture of something well-worn. Collage, in particular, allows me to build on these fleeting moments, layering scraps of paper, printed textures, and embossed tin to create new narratives.

13. Do you have a favourite artist, maker, movement, or tradition that has influenced your craft?

I admire artists who work with materials in intuitive, storytelling ways—Louise Bourgeois, Anni Albers, and those who engage in folk traditions. I also love the resourcefulness of collage artists who work with found materials, embracing imperfection.

14. How does colour influence your practice?

Colour plays a subtle but important role. I tend to lean towards muted, natural tones—deep blues, soft greys, warm metallics. In collage, I enjoy layering different textures and shades, letting chance play a role in what colours emerge through the process.

15. What role does your environment play in shaping your creativity?

My surroundings deeply affect my creative energy. My studio, when organised, feels like a safe space, but my home environment (especially with past mould issues) has sometimes been a source of stress. I find inspiration in nature, especially during walks—small details like peeling paint, faded signs, or the texture of stone often find their way into my work.

16. What do you want people to feel when they experience your work?

A sense of quiet reassurance. I hope my work offers small moments of reflection, a pause in the chaos.

17. What are you currently working on, and what excites you most about it?

I’m working on a new series of embossed tin pieces and collages exploring the themes of less and more—what we carry, what we let go of. I’m also experimenting with new ways to layer materials, playing with depth and light. I am also getting back into my collage making which brings me so much joy.

18. What advice would you give to someone starting out as a maker?

Let yourself make bad work. Not everything has to be perfect or shareable. Your voice will develop through the act of doing, not just planning.

19. If you could go back to the start of your career, what advice would you give your younger self?

Slow down. You don’t have to prove your worth through constant output. Trust that your work has value beyond sales or social media engagement.

20. If you could collaborate with any artist, past or present, who would it be and why?

Anni Albers—her approach to materials and structure fascinates me. I’d love to explore how embossed metal and woven textures could intersect.

I also love to collaborate with people who come to art making from a different angle or path. I think people who think in varying ways are so inspiring.

21. Where can people find your work, and how can they support you?

My work is available through my online shop and at select indie shops and galleries. People can support me by purchasing pieces, sharing my work, or simply reaching out—kind words mean more than they know.

Megan’s work is tactile, emotive, and richly layered, combining embossed tin, collage, and printmaking to create pieces that invite both touch and reflection. Her process is deeply intuitive—whether arranging fragments of paper, embossing tin, or printing textures, she allows the materials to guide her. Inspired by folk traditions, found materials, and the unexpected beauty of imperfection, she finds meaning in the quiet details of everyday life.

Her journey as a maker hasn’t been without challenges, particularly in balancing the emotional and financial demands of creative work. However, through a focus on process over perfection, she continues to create pieces that resonate deeply with collectors. Recent projects explore the themes of what we carry and what we let go of, using layered materials to play with depth and light. Above all, Megan hopes her work provides a moment of quiet reassurance, a gentle pause in the chaos of life.

Discover Megan’s work:

Website: meganfatharly.com
writing: meganfatharly.substack.com
Instagram: @printcessmeg