Phil Meyer is born in France in September 1985. He turned at 21 years old to the wood’s art-and-craft after studying occupational therapy in Belgium.
In 2008, he began an apprenticeship as cabinetmaker for three years (at Paris). In his final year, during an internship in Finland, he’s finding himself an attraction for sculpture.
From January 2012 to May 2013, Phil will deepen in this direction and train in Finnish technique.
The meeting with Mr.PAAJANEN, a visual artist, pushed him definitively towards artistic sculpture.
Back in July 2013, in France, he settled in the Vivres de l’Art, an artistic nursery.
The crossing of the different practices of these creators, as well as the integration of a free auditor’s course at the Beaux-Arts de Bordeaux in September 2014, led him to inscribe a second medium, the painting, in his creation.
Phil is now devoted to painting and sculpture, making human his main subject of study.
Phil’s artist identity is built around emotional instability and creative proteiformism.
By reconnecting with physical incomprehension, he works around the emotional, endeavouring to create to the viewers, his contemporaries, the others, the understanding, the wonder, the bound to the body, to his pleasure. To sensuality.
During his various formations, occupational therapy and cabinetmaking, the artist found the taste of the others and met the wood. His noble material, through which he seeks to express himself permanently.
He is inspired by humanity, his point of rupture, his tension and his temptation, to find there the escape, the perfection of movement, the moment.
Phil questions the effusion, the release of his tug-of-war.
By investing his emotions, he seeks this point of tension and perfect balance: the « Perfectum », this instant sublimated by all possibility.
He explores the sublimation of himself, of us, of him, of the body, his work and his movement.
Building to deconstruct, one of his leitmotiv, Phil exposes the ambivalence of fragile strength. Emanate of the completed work (carved or painted) power and softness, sensuality and roughness.
The bodies are composed in a sensual luminosity. Like his sculpture, the artist tries to divide the body by colors.
Using the transformation principle, he re-constructs the man, the woman; painted with the most important of all: the white, union of all the colors spectrum.
Figurative, and sometimes bordering on the abstract approach, the work of the body expresses itself through gouache or acrylic. On canvas or wood, the search for volume, sculpture, is the general obsession of its creation. The obsession of the living material.
This two mediums are the expression of his explosion of life. The search for the imperfect, for the punching work, for this emotional force, is felt by the final gesture that it accomplishes. Like sculpture, Phil hardly corrects his painting.
The gesture takes precedence. To give movement and emotion.
The vital impression.