Exhibition with Michel Meyer
“Asche, Krümel, Parmesan”
Opening October 12th 2013 12:00 – 18:00
Exhibition ends Nov 2nd 2013
The artist will be present.
Michel Meyer’s special view of the world will become ours as we contemplate his work. First of all there is the “logarithmic mode” – with it we can go beyond the trashing of everyday imagery and information and glimpse the hidden, make the not-yet-seen visible, uncover the covered-up. And vice-versa, Meyer’s art functions in the true Romantic sense too: the known and the familiar become surprisingly remote and mysterious. As you look, you experience a recurring jolt (mostly pleasant), a sudden awareness. And it is herein that the real pleasure and enjoyment in Michel Meyer’s paintings is to be found.
They are, how could it not be, two-dimensional. However, they allow for further attempts to go beyond into a “depth of space”, into a third, even fourth and fifth dimension. They escape any kind of decoding. Despite those manifold aha!-experiences, it is not as though one has, once and for all, “understood”. Because they keep the puzzle to themselves they will never just be decoration, or ornaments on a wall. One could say: They will never, ever be boring. They remain provocative in a gentle but all the more emphatic way. Our own willingness to project will always finds new ways, the unconscious always finds new excitement.
Michel Meyer offers us a way of looking at his paintings which I would like to call “cumulative seeing”. The methodical style of these paintings lies in versatile varied serialization, and is also to be found in the elements of quotation, in the collages, and in the compositions of people, animals and sensations. One leads on to the next, the discoveries and ways of reading mount up, overlapping one another, repressing one another, and a bewilderment emerges which feels quite comfortable.
However, in the apparent orderly lines, patterns and colours there dwells – and this is highly romantic! – the wild, the archaic, the spontaneous and the dishevelled. Michel Meyer has at his disposal all the standards of academic and graphic art, but they remain for him no more than points of reference, playful material in his quest to achieve the higher (or deeper) artistic intention, namely that of the modern-mythical.
Thankfully, humor is a constant typical of Meyer and also to be found in many paintings. The delight he has in caricature, in the comical and the cartoon, in the fondly grotesque give Michel Meyers artwork, albeit with its fundamental tone of (neo-) romantic, a touch of lightheartedness and a pleasant flippancy which helps protect his work, preventing it from being misunderstood and appearing all too romantic: teutonic, gloomy, riveted, tortured. The opposite is the case. To put it classically: Life is serious, let art be serene!
More about Michel Meyer here