EXHIBITION 27 APRIL – 1 JUNE 2013, TUE – SA,  11AM – 6PM

Is that all?
That's all.

Humpty Dumpty sat on a wall,
Some works cannot help but fall. 

All the provocations are made to unset us all.
- By the way it’s me who sets the meaning of the words I use.
But tell me your name and its use?

The scorn and dark humor is for all the crowd
But verbs are very proud!

Oh! Don’t speak so loud! Anyway, if you felt like a sculpture
that would fall, I wonder why would try to climb the wall?
Isn’t it stupid to flicker away?

With all these holes and painting and all,
I can’t dismiss to be anything at all.

And with pride the work defies its glory – You are a dump sculpture!
You’re dumb from dump.
- I didn’t mean not to exist I just don’t want to be a
delightful welcoming being.

Fair enough he says. One looks with the eyes and the body.
Your name is yourself! Not fixed, not visible, between one and
another. One looks and sees how great it can be! 

Looking for the first time to the things we trash,
now everything is slightly harsh!

Oh no! Stop it! One looks into the boxes and they ferment away
like the spread of paint over the clay.
Is there something you would like say?

 - I would like to serve as it is!
 - An egg?

And silence was there. There were all on top of that wall.
Turned upside down as if meant to fall
The egg with a great smile was saying goodbye…

So many accidents on top of the floor
Turn them vertical and start to see more!

And the animal became human - the time was passing by, and all
the details were disappearing into a white wall.

Who’s the author… who’s in pain?
Let’s wake up everyone again.

And people start to gather around,
the small solids displayed on the ground.


Christoph Meier works in reaction mostly- guiding his works throughout multiple changes of state using his rational and reactive force, oftentimes coupled with scorn and a dark sense of humour. The works appear to run off, leaping from familiar terrain into the unknown, morphing their complexion into active objects. This approach reminds me of a free fall, something that can be understood as the nature in his objects, which stand between sculpture and painting.

The sculptures are often ‘massaged’, sprayed or simply handled with colour in order to overcome their stationary form. This procedure is contrary to the direction of painting in antique staturay, since painting does not follow guidelines of a shape as decorative pattern or mimetic representation. In this case, concerning its target object, painting is an autonomous force and ultimately aspires to escape its built or found form. There lies tension between the entity of the sculpture, following the law of gravity, and painting, which aims to abolish it. This detachment between painting and sculpture places the objects in a cleft of meaning resp. a gap between time and locus.

The works appear to be referring to a series of pieces within the art world at first. As if they stand in relation to these other works, respectively to our body or the gallery space.

Secondly, these objects own a picturesque quality. They are composed of a matter, which disputes both the body based on the abstract and amorphous painting style, and the reason of its perception from eye to mind.

A third approach unfolds on a visual level, the Op art quality of the perforated metal sheets- An optical phenomenon which rifles through our body and involves it simultaneously.

In other words, the works shown in the exhibition primarily play with the perception oscillating between body and mind, the expressionist and impressionist, the affirmative and responsive forces. One can thus say that, due to the intermediary state Christoph Meier’s works find themselves in, they are free of those deliberations and are, through a minimum of detachment between the familiar and unfamiliar, kept alive.


Hugo Canoilas