With Fensterbilder, the gallery Andreas Binder presents the seventh solo exhibition of artist Matthias Meyer, in which
works that are stylistically as well as thematically connected to earlier works are shown. While in his 2014 exhibition the
element of water in all its natural forms of appearance was central, this prior motif yields to another transparent medium
in Fensterbilder, viz. window glass.
Here as well, slices of reality form the base of an art that lets the actual motif disappear in its aesthetic and substantial
ambiguity. The window glass, always mirroring the foreground and at the same time giving insight into what lies behind,
becomes, on the canvas, the playground and projection screen for an artistic examination of the luminance of light.
At the same time, the light, which breaks on the canvas through permeable coats of paint, gives the beholder glimpses
into a transcendental world that is saturated with emotions, luminosity, and color. In analogy to the psychoanalytic film
theory, in which the cinema screen is seen as a window to the subconsciousness, the motif of the window becomes a
mirror of subconscious art work and allows the observer access to dreamlike worlds.
This intuitive component, which is situated between a spiritual and psychologizing interpretation, is mirrored in the
tangible artistic method of Matthias Meyer. Though the artist uses photography as a guideline for his paintings, the
execution arises detached of this guide in an improvised, almost oneiric character. “It is a moment of risk“, Meyer
confesses.“Actually, I build the picture abstract in reverse order, as soon as a detail becomes recognizable, I stop the
And still–in spite of Meyer’s rejection of the theoretical supersaturation of his art–his pictures cannot be viewed as free
of any central questions of the art-theoretical discourse. The renunciation of figurative content as well as of geometrical
abstraction and at the same time the admission of photographies of glass art as an aid to memory leads in practice into
a principle of shapelessness, in which color is used autonomously. Thanks to this technical-conceptual approach, it
seems that Matthias Meyer is succeeding in overcoming the antagonism between figuration and abstraction.
In playing with the different genres of architecture, art of glass, photography, and painting, Matthias Meyer returns to an
almost spiritual impetus, in which the artisanal and artistic bundling of light enables the display of a further reality in a
two-dimensional medium by means of the use of color – just as in the sacred glass painting – in a spontaneous, artistic
Matthias Meyer (*1969) lives and works in Mülheim at the 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 visiting student at the Chelsea College of Art, London, and
won the SBC European Art Competition of the Swiss Bankverein the following year. In 2015 he received the work stipend of the Konrad
Adenauer Foundation EHF 2010.
National as well as international exhibitions (selection): 2014 Kunstverein Leverkusen, Schloss Morsbroich; Das flüssige Element, SØR Rusche
Sammlung Oelde/Berlin, Museum Ahrenshoop, Niederlande; „Wetland“, Gallery Danese Corey, NY; Gallery Wilma Tolksdorf, Frankfurt; „2×2“,
EKFF Eileen Kaminsky Family Foundation, NYC; „Vom tatsächlich Sichtbaren“, Kunstverein Duisburg; „Unlängst im Wald“, Zentrale der
Bayerischen Staatsforsten, Regensburg; 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; „Maha Kumbh
Mela“, Junge Kunst e.V., Wolfsburg.