Where the Surface Opens: Megan Emily Ely’s “Dream Mirrors” at the YWCA
Megan Emily Ely speaks about her work in terms of worlds—constructed, imagined, and carefully held together.
That instinct runs through Dream Mirrors: Reflecting Portals of Ethereal Visions, her solo exhibition on view through April 30 at the Gertrude G. White Gallery at the YWCA in Greenwich. The paintings themselves offer entry points into layered, surreal environments, though the foundation of the work begins well before the canvas. It starts with a habit of imagining—one Ely has carried with her since childhood.
Born in Maine, Ely describes an early life shaped by creativity and interior storytelling. Drawing and building imagined spaces became a way to navigate and interpret her surroundings. That impulse remains visible in her work today, where narrative feels present in every composition, though never fixed. Each painting opens outward, allowing viewers to shape their own understanding within it.
Her path into fine art followed a long and established career in design. After studying art and design at the Fashion Institute of Technology in New York City, Ely entered the fashion and prestige beauty industries, eventually serving as a design director at Estée Lauder and working with a range of creative agencies. That experience sharpened her visual discipline. It also instilled a sensitivity to composition, finish, and material that continues to define her paintings.
Now working under the name Elyiara Studio, Ely carries that dual perspective into her practice. Her work moves between structure and imagination, balancing a refined visual sensibility with a deep interest in mysticism, nature, and storytelling. She describes her approach as mystical surrealism, drawing from fairytales, natural forms, and the broader question of how unseen forces shape lived experience.
That language finds expression in recurring motifs—animals that appear attentive and aware, landscapes that feel suspended in time, and objects that suggest transition or passage. Her paintings frequently include portals, reflective surfaces, and glowing forms, all rendered with a clarity that keeps the viewer grounded while the imagery itself expands.
At the YWCA this month, those ideas come together in a cohesive body of work that reflects both consistency and range. In A New Perspective (2025), a whale drifts within a glass-bound ocean suspended in a sky of soft, luminous clouds. The scene feels contained and expansive at once, with the transparent structure holding its own logic while the surrounding atmosphere suggests something far less fixed. In Garden Game (2024), the structure shifts toward the architectural, where arches and a checkerboard floor guide the eye through a carefully ordered space that unfolds deeper with each glance.
Elsewhere, Ely narrows her focus. In Is Anyone There? (2025), a mouse stands beside a pink rotary telephone, surrounded by crystalline forms that reflect and multiply the space. The moment holds a quiet sense of anticipation. In Treasure Nest (2024), a dark bird keeps watch over a nest filled with jewel-like forms, each catching light in a way that draws the viewer closer.
Across all of it, Ely’s hand remains steady. Her training in design informs the way each painting is built, while her subject matter draws from a more intuitive place. The two meet seamlessly.
Her professional life has expanded alongside her studio practice. Ely continues to consult with luxury and design-forward brands, applying her visual approach to product design, illustration, and styling. She produces original works, prints, and commissioned pieces, extending her imagery into more personal and applied contexts.
Her work has been exhibited widely, including at the Clio Art Fair in New York City, Poetic Tiger, Curio Art Gallery, the Bendheim Gallery in Greenwich, and the Gracie Square Art Show. Within the region, her presence remains active and engaged. She serves as an advisor to the board of the Greenwich Arts Council, is an artist member and curator with Saint Marks Arts in New York City, and contributes to organizations including the Rye Arts Center, the Essex Art Association, and the Lyme Art Association.
That sense of involvement extends beyond professional affiliations. Ely directs a portion of her proceeds toward animal rescue and mental health organizations, causes that align closely with the themes of care and awareness that surface throughout her work. Even her studio life reflects that connection—shared with her husband and a small group of animals, including a dog named Cornflake, a cat named Wooley, and a lop-eared rabbit named Carrot Cake.
There is a continuity between the life she describes and the worlds she paints. Animals appear frequently, though they carry a quiet presence rather than overt symbolism. Spaces feel structured, though they remain open. The work reflects a way of seeing that values both discipline and imagination, each reinforcing the other.
At the YWCA this April, Dream Mirrors holds that perspective in place. The exhibition offers a view into an artist’s ongoing exploration—one that draws from early experience, professional training, and a sustained interest in how images shape perception.
Visitors move through the gallery at their own pace, encountering each painting as a self-contained environment. Over time, patterns begin to emerge, connecting the works through rhythm and repetition. The effect builds gradually, grounded in attention and sustained looking.
By the time April moves toward its close, the exhibition remains steady in its presence. Ely’s paintings continue to offer what they set out to create: spaces that hold, and spaces that open, often at the same time.
