Shae Meyer is a printmaker and painter currently based out of Brooklyn, New York. Born and raised in Colorado. Meyer received his BFA with an emphasis in printmaking from CU Boulder.
Growing up in the shadow of the iconic flatirons, his childhood was spent alternating between a growing tech town, and the natural beauty of the mountains. This contrast inspired an acute interest color, form and material. Storms, sunsets, and wildfire ravaging the landscape came to contrast alleys, refuse, and oil in a fissure-filled sidewalk lending inspiration to his unique perspective of color, material, and functionality as his environment grew increasingly dissonant.
His work engages questions concerning objectivity, subjectivity, and individuality within the context of environment. Incorporating materials discarded and overlooked, he examines whether these have intrinsic value, or prescribed value based on their use. By pulverizing these materials they often lose their natural form, and become hidden in the depths of a painting, becoming a part of the larger whole, an element within a larger context. For Meyer these materials become an allegory for the value of an individual person, examining if somebody is more than merely the sum of their parts. Using postindustrial materials in contrast with raw materials, he explores how these materials function within society, and for those using them.
It wasn’t until exploring the processes of printmaking that the power of material interaction became so central a theme to his work. Inspired by ferric chloride etching into copper, nitric acid on a lithographic stone, and how inks of differing viscosity interacted, he began to incorporate these ideas in his paintings. Moving beyond inter-medium disciplines he sought to find new ways of making marks, on paper, canvas, copper, and stone.
He creates paintings, drawings, and prints with a strong sense of motion, turmoil, and decay. His works are dissonant, and in equal measure, ambient; creating a physical tension found in the space between two objects, two feelings, two thoughts, or two colors. The viewer is invited to explore the atmospheric contrast that is created by these two.
He is interested by the efficacy of individual’s defenses, physical or mental, as a means of expressing vulnerability. Subsequently he has found a deep affinity for things with exo-skeletal systems, shells, or some rough exterior. The creatures who put on a good show of strength, but are ultimately less protected than they seem when scale is taken into account, just as the exterior shown by most people is eventually proven ineffectual. The placement of these objects or creatures outside of their natural environment puts them in a vulnerable position; he views this as a metaphor for the state of humanity, and the extent of human knowledge.