This show examines the internal dialogues of two autobiographical visual accounts, primary gestures as personal negotiation; that embrace and speak to the artist's own persona. Here the artworks stand as platforms of their untold stories. The pieces become places where the artists have lost and found themselves.
To comprehend the multifaceted complexities of Meyerson and Krisár, the way they see, think, and act, we need to understand their origins. Both have experienced traumatic events that have shaped their artistic processes. Culminating in two authentic and profound bodies of work, they speak to us with elegant poignancy, and rich honest expression.
Jin Meyerson's paintings are extraordinarily dynamic. They constantly shift between various visual layers. Like an atomic explosion they inhabit a physical blast of energy that penetrates any barrier. Fireballs of intensity, his paintings reach us in shockwaves of color, line and light. Blended and separated, a dialectic collision of fusion and fission, become gateways into alternative worlds.
Anders Krisár's sculptures are precise dissections of the body that force the viewer to complete a dialogue of absence within their own mind. The striking combinations of classical figurative form and brutal amputation, enhanced by an acute realism, shake our most profound inner feelings. Krisár explores patterns that attract and repel, in order to voice his most urgent intimate message. Krisár investigates the reduction of appearance through subtraction and elimination to arrive at an underlying concept.
Both of the artists engage with iconographic elements that transcend a parallel existence between the ephemeral and material world. They describe existence through distortion and supernatural truth. Their work shares an extraordinary mastery of style and technique that constantly investigates new avenues, though in vastly different ways. Through an obsessive desire to express an innate melancholic longing to connect and to be seen, Krisár and Meyerson, have since they started their careers over two decades ago, stayed deeply committed and preoccupied with a central narrative constantly building on themes that question love, loneliness and transient sensuousness.
Jointly drawing on an appreciation of surrealist aesthetics, both artists act on the complexities of their respective histories, using conceptual metaphors to represent the human condition. Their artwork becomes intimate visual maps that explore, conceal and reveal transformative representation.
The Artists work presents a two-folded psychological effect, concealing one side to reveal new meaning. Throughout their oeuvres, Meyerson and Krisár use personal symbolism to capture fluctuating moments into a singular expression.
Anders Krisár b. 1973Lives and Works in StockholmThe subject of numerous museum shows, Anders Krisár's work, often focuses on the human body. Krisár's sculptures often features or makes reference to the human form, exhibiting a preoccupation with formal rigor and abstraction. Using this exacting approach, he employs precision of form to create intensely personal, psychological landscapes. Krisár's sculptures – immaculately produced, and often bear a deliberate blemish that is itself impeccably rendered – are discomfiting, objects of simultaneous horror and beauty. The Birth of Us (Boy) features a child's torso, marred by the indentation of two adult hand prints; in M the life size figure of a boy is split in two and then rejoined, so that a single figure becomes two halves, severed twins clasping hands. The violence that underpins both these sculptures is a recurring theme and is rendered with care and deliberation, so that it appears both aesthetic and inevitable. The sculptures are uncanny because of the meticulousness with which they are executed; according to Krisár, "I'm a perfectionist because I have to be, it's not really a choice. And it's not a striving for satisfaction, it's rather to avoid pain."
Jin Meyerson (Korea, b.1972) Jin Meyerson is a Korean American artist currently based in Seoul. Recognized for his contributions to the revival of figurative painting in the early 2000's in NYC where he began his career. He is a pioneer of Frontier Optics, engaging with image sampling as an alternative to the co-opted choreographies of of established identity art via early randomization CG systems in concert with painting since the late 90's. His work bridges figuration and abstraction by engaging with issues of displacement, loss of heritage, post-colonialism, and the expansive Korean diaspora. His recent work employ LIDR scans, AR overlays and ideas of retro causality, as source and origin on his longstanding investigation of meaning and contemporaneity in painting
His paintings have been featured in extensive solo and group exhibitions globally, including: The 2022 Venice Biennale, Gallery2 + Johyun Gallery, Seoul + Busan; Mwoods Museum, Beijing; Zach Feuer Gallery, NYC; Galerie Emmanuel Perrotin, Paris and Hong Kong; The Saatchi Gallery London; Galerie Nordine Zidoun, Luxembourg; Arario Gallery, Seoul and Cheonan, Hakgojae Gallery Seoul and Shanghai, and Pearl Lam Gallery HK. Jin Meyerson's work can be found in numerous public and private collections, including: the Solomon R. Guggenheim Museum, New York; The Saatchi Collection, London; Vanhaerents Art Collection, Brussels; Dean Valentine Collection, Los Angeles; the de la Cruz Collection, Miami; the Speyer Family Collection, New York; the Yuz Foundation, Jakarta/ Shanghai; the Taguchi Art Collection, Tokyo; MACAN Museum, Jakarta; and the Sansab Museum, Bangkok.
Written by Cecilia Dupire.
Press release courtesy GALLERY2.
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