ART CURATOR STATEMENT
Claudia Meyer was born in Switzerland and lives between Luzern, Paris and Los Angeles. All these three great locations have inspired and determined her art as a sort of fusion of elements easily found in the ambiance and cultures of the three Countries.Energy, movement and light is the basis of her works which seem to have an inner and not hidden will to get out from the wall and start to travel all around to explore the shapes, the space, the feels.Her works seem to fly in the space “accompanied” by a light that seems to lead to and allow to get immediate access to thought: light as transmission of thought. Light as a direct approach to the flow of energy in movement that emerges from the support, striking the observer and hypnotizing him or her, carrying him or her away by that very same energy. Everything is surrounded by light and contains light to enhance the sensation of a movement given by an inner energy.The structure of square or rectangular parts in which the entire artwork is included, gives the idea of a structural base borrowed by the lesson of Malevich and Mondrian at the beginnings of last Century or even more, borrowed by the geometric abstraction which inspired an entire generation of Swiss artists of the past like Max Bill. The rigor of a certain Middle European approach makes her create a kind of “system” of successive squares where her “Color field” lays, rich and luminous.The freedom of the mark on the surface and the hundreds of marks interacting one with the other create an intricate path which appears as a tangle of words, of lines, of waves that must be captured and grabbed.Like the pictorial signs of primitive populations, like the “lines” of Nazca in Perù, and like the signs of the Aborigines in Australia, the one of Claudia Meyer reminds an archaic form of communication, but it is her own inescapable form of expression.Like the “musicality” of Proust’s prose, formed of an incessant sequence of animated images that tend to resemble soundwaves more than written words, the musicality of Meyer’s signs conquers the viewer or the “listener”, embracing him or her in a sensorial crescendo that brings to mind Ravel.
Cynthia Penna, Art Curator, Milan, Italia • Los Angeles, USA