First of all, we look into a lot of pretty grotesque faces. But soon we see some pastel patchwork rugs here, some grease spots there, left by the oil paint on the untreated canvas, from which now arms, legs, and heads seem to grow; elsewhere, thin strips of paint, squeezed directly from the tube, run across the painting, and in spite of their pastose application, they seem scrawny and fragile, as if they could at any moment come undone from their foundation and slide to the floor.. In view of such features, Florian Meisenberg seems to be quickly identified as a painter who is fully conscious of the specific (above all the material) conditions of his medium. And also as one who does not just play with the classic parameters of canvas, brush, and paint, but who paints motifs like a massively enlarged cursor and thus brings the digital equivalent of the paintbrush to the canvas, displaying art in all the ‘artificiality’ that is inherent to it at the beginning of the 21st century.
