Florian Meisenberg
A story is always told into two ears

Florian Meisenberg. A story is always told into two ears, 2021 (detail). Iridescent acrylic, airbrush, and oil on canvas. 108 × 216 inches (274.32 × 548.64 cm). Photo: Joerg Lohse.

Florian Meisenberg. organism of oil and pigment. R.: Being alone was never a problem! Being with someone was. The puzzling feeling of participating in yet another conversation, while simultaneously reflecting on identifying and liberating the algorithm inside - producing maniacally letters of sense - excavating rare but not too exotic words from the in-depth of our short term-memory to ultimately populate phrases full of short but smart answers., 2021. Iridescent acrylic and oil on canvas. 16 × 12 × 1 inches (40.64 × 30.48 × 2.54 cm). Photo: Joerg Lohse.

Florian Meisenberg. Aquaphobia If you unfold a skybox you end up with a cross rotated 90 degrees to the left. A horizontal cross. A horizontal cross is a method of creating backgrounds to make a scene look bigger than it really is. When a horizontal cross is used - the sky, distant mountains, distant buildings, and other unreachable objects are projected onto the crosses’s faces, thus creating the illusion of distant three-dimensional surroundings., 2021. CNC-routed permanent marker and oil on canvas. 16 × 12 × 1 inches (40.64 × 30.48 × 2.54 cm). Photo: Joerg Lohse.

Florian Meisenberg. Il grotto fiori (Why is sand so comfy everywhere? How does sand adhere so well to multiple surface structures? Why is sand so liberal? Why is sand everywhere? What can we do about sand? Should we do something about sand? What is to be done about sand? How to tell sand enough is enough?), 2021. CNC-routed permanent marker, Indian ink, airbrush, and oil on canvas. 40 × 30 inches (101.60 × 76.20 cm). Photo: Joerg Lohse.

Florian Meisenberg. The idle idiot, 2021. Oil on canvas. 24 × 20 × 1 ¾ inches (60.96 × 50.80 × 4.45 cm). Photo: Joerg Lohse.

Florian Meisenberg. Artists Love affair. Made entirely of paper waste or life raft rubber these new works are fragile and susceptible to deterioration, and suggest a state of vulnerability and impermanence. This work seeks to nurture an awareness of fragility of life and to build an awareness of transience, suggesting that life and death are transitory states and that there is no permanence in either. We are constantly changing, transforming, metamorphosising and transcending. By refining even further the understanding of the essence of the notion of bardo, it can then be applied to every moment of existence. The present moment, the now, is a continual bardo, always suspended between the past and the future (The moment of death is significant as a transient period, a passing over. Bardo is a Tibetan word literally meaning “intermediate state” or “in-between state”. It refers to the forty-nine day period after death and is described as the time, space or region that a spirit traverses between the moment of bodily death and spiritual settling. This period of bardo state is believed to be a time of vulnerability.), 2021. Iridescent acrylic, airbrush, and oil on canvas. 24 × 18 × ¾ inches (60.96 × 45.72 × 1.91 cm).