Versatile Paris-based artist keeps her faith in shapes
In her current exhibit of multimedia works at the Magidson Fine Art Gallery, Claudia Meyer demonstrates an absolute faithfulness to her shapes.Since focusing on her art in the early ’90s, the Swiss-born, Paris-based Meyer has made squares and rectangles a consistent presence in her work, a mix of sculpture and painting.
And thank goodness. Those sharp edges are one of the few dependable points of reference in Meyer’s restless creativity. Her color tones form a reasonably solid thread, though the customary earthy browns and reds are occasionally broken up with glowing, jewel-like greens and yellows. Her customary materials – wood, plexiglass, paper, aluminum, acrylic, steel – are a wide-ranging lot, but at least consistent.But when it comes to ideas, the 44-year-old Meyer resists being pinned down. One piece is intended to mimic the natural world; the next is a high-concept work inspired by the patterns of a telephone call. A group of sculptures are studies in geometry; a painting is based in personal memories.”I do sometimes series, three or four pieces. But I never stay with one too long,” said the tall, green-eyed Meyer at the Magidson Gallery, where her third Aspen exhibit opens with a reception today from 6-9 p.m. “Once a series is finished for me, it’s finished. I like to move on. I like to keep going.
“And my life is like that. Everything I come across, I like to do. I like change. I like to move around. I get ideas wherever I go. I’m constantly on the move.”Meyer’s first influences were her father and brother, both architects. At the College of Art & Design in Switzerland, Meyer graduated with a degree in graphic design, a field she pursued for several years. (Meyer, with her boyfriend Stephan Est, created the catalogue for the Aspen exhibit.) In New York in the ’80s, Meyer specialized in computer graphics and screen-printing on fabric at the School of Visual Art and the Fashion Institute of Technology.
The current show reflects that assortment of interests and influences. The graphic design background comes through in Meyer’s knack for combining elements. No work is made of just one piece; all are assembled of various squares and rectangles, plexiglass and painting. Almost everything – from the spiral suggestions in “Squares” to the dancers in the canvas painting triptych “Trinity” – conveys a sense of movement.”The world is not flat. Everything has a dimension,” Meyer said.
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