A quarterly ezine by a community of writers, poets and artists.

Meet our Contributors
Fiona Meng

The Old King is Dead, illustration, Issue 20, September 1, 2012
Mermaid, illustration, Issue 21, December 1, 2012
Eshell, illustration, Issue 26, March 1, 2013
From Present to Past, illustration, June 1, 2016
The Places We Go At Night, illustration, September 1, 2016
Gaia, illustration, Issue 40, September, 2017
The Journey, Illustration, Issue 50, March, 2020
Will They Find Me Here? Illustration, Issue 51, June 2020

I'm Canadian and I grew up in Windsor Ontario. After going to a mediocre art school for two years, I decided that if I really wanted to educate myself, then it would be best that I stop trying to learn about painting and simply paint. As a creative person, I'm always looking for a degree of freedom within my work. Coming to my own style as an artist has been a long time in the making and a process I'm not yet satisfied with. I love to work in a wide variety of mediums, my current focuses are mainly digital, oil, and pen and ink. See more of my work at

Get to know Fiona...
Birthdate? Dec. 7th.

When did you start doing artwork? Age 13.

When and what and where did you first get published? Writers and Illustrators of the Future anthology - 2011

Do you use reoccurring themes or images in your illustrations? I like for my works to have an emotionally charged component to them.  I love fantasy and fairy tales, but I also enjoy sci-fi works and any type of realism or work with semi-realistic qualities.  What I'm really after in my work is trying to expose some quality of emotion, be it rage, humiliation, pensiveness, etc. 

What media do you like to work in? Why?  I love to move back and forth between mediums.  I used to do a lot of digital pieces, but lately I've been working more in oil and pen and ink.  I don't like to stick with one medium for too long, so I'm always going back and forth between them.

What artist's work do you most admire? When I was a kid I loved Amano Yoshitaka.  He always seemed quite free with his illustration ideas and I admired that. When I got more heavily into fantasy and digital art I really liked Linda Bergkvist and Susan Seddon Boulet. The idea that you can draw beautiful fantasy illustrations that have a quality deviance and sinister stories has always appealed to me. I've always loved the classic painters also (Caravaggio is my favourite because he's such a bad ass).

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