Arcadia, Galerie Andreas Binder, Munich, September 15 – November 24, 2018

With Arcadia Andreas Binder Gallery presents the 8th solo exhibition of the artist Matthias Meyer.

While in past exhibitions Meyer dealed with the fluidity and transparency of air and water in the mirror of light and glass as a kind of filter of perception, his new works seem to be more down to earth in a certain sense.

The exhibition title citing the Latin phrase “Et in Arcadia ego” already refers in its multiple ways of potential interpretations to an multi-layered art of painting, that does not alone depict the earthly nature, but makes their subjective effect visible.

Thus, the term Arcadia isn´t merely a symbolic place, where man lives in harmony with nature. Nor can Meyer’s works be interpreted on the surface of its motifs or its pictorial-technical style. Rather, the landscape paintings and floral still lifes reflect an essence of painting that is untouched by postmodern art discourses. Iconographic interpretes Arcadia as a dystopian space, in which the human being is aware of his mortality and faces this consciousness with doing paintings, since only the painted image is able to present the absent and thus counteracts the transience.

Likewise, Meyer’s works not only depict idyllic scenes as an expression of an indissoluble yearning for paradisiacal integrity. They point to an indispensable confrontation with the dissonance of eternity and finitude, utopia and dystopia, and material and reflection.

For example, in Meyer’s river and lake landscapes, the motif water as an element determining nature, humanity and cultural history, that cleans and pours away the environment in its constant flow, almost disappears in favor of dealing with its essence. It almost seems like the subject of the image becomes the playground and projection surface for an artistic examination of the analogies between the materiality of nature, painting and life itself. The ability of water to change and adapt, that enables light and its surroundings to be equally captured and mirrored, is transformed by Meyer on his canvas with translucent layers of color. In that way, the artist allows a view into the beyond, into a transcendent world of sensation, luminosity and saturated color.

After all, this intuitive component is part of the artist’s concrete approach: while Meyer uses photographs as a model for his paintings, the implementation emerges detached from it in an improvisational creative process.

For him, the painting is – analogous to life – an everlasting river, in which the image “develops a life of its own and preserves almost something natural”. Working with highly diluted paint and solvents, random color gradients, smudges and overlays are thus not merely technical means of depicting the motif.

And yet, Meyer’s images can not be considered entirely free from central questions of the art-theoretical discourse. The renunciation from pictoriality and conception at the same time leads in practice to a principle of formlessness in which color is used autonomously. Because of this technical-conceptual approach, Matthias Meyer seems to succeed not only in overcoming the antagonism between figuration and abstraction, but also between art, nature and life (Text: Leni Senger).

Matthias Meyer (*1969) lives and works in Muelheim an der Ruhr, Germany. He finished his studies at the art academy Düsseldorf as a master student under the supervision of Professor Gehard Richter. In 1994, he was student at the Chelsea College of Art, London, and won the SBC European Art Competition of the Swiss Bankverein in 1995. In 2015 he received the work stipend of the Konrad Adenauer Foundation EHF 2010.

National and international exhibitions (selection): 2018 „Tiefe Wasser“, Rosenhang Museum, Weilburg, Germany; 2017 „Glaeserner Tag“, Kunstmuseum Muelheim, Germany; „Bild und Bildnis“, Kunstverein Duisburg; 2015 „Drawings“, CASO, Osaka, Japan; 2014 Kunstverein Leverkusen, Schloss Morsbroich, Germany; „Das fluessige Element“, SØR Rusche Sammlung Oelde/Berlin; Museum Ahrenshoop, Netherlands; „2×2“, EKFF Eileen Kaminsky Family Foundation, NYC; „Vom tatsächlich Sichtbaren“, Kunstverein Duisburg, Germany; „Unlaengst im Wald“, Zentrale der Bayerischen Staatsforsten, Regensburg, Germany; Inter Cool 3.0., Hartware Medienkunstverein + Künstlerhaus Wien, Dortmund; Inner Space/Outer Limits: The Vern Collective, Walker´s Point Center for the Arts, Milwaukee WI; „Landschaft entdecken“, Kunstsammlung Gera, Germany; „Maha Kumbh Mela“, Junge Kunst e.V., Wolfsburg, Germany.

Opening: Friday, September 14, 2018 | 7 pm
OPEN ART: September 15-16, 2018 | Sat & Sun 11am – 6pm
Exhibition: September 15 – November 24, 2018

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