He not only has gathered experience as a photographer in Germany,
Israel and Colombia. Beside this , he has exposed his oeuvre in
international galleries and has added a context of complexity.

His photographic constructs present physical manifestations, of
interior psychological states. His image manipulations, go
beyond light, color and juxtaposition.

In a very complicated process, Michael expresses in such works as

The process itself becomes a very crucial aspect of Michael's work,
even though the actual pieces completely transcend how they were made.
What they depict through the process of artistc creation is yet another
process entirely -an internal, experiental one- that becomes visible and
emotionally felt.

Although Michael Meyer began experienting with photographic techniques in
the late seventies, since 1991 he has developed the highly manipulated
photomontages, we see on the next site. His works are not, however, in
the tradition of the photomontage as it originated with John Hartfield
and others active in Berlin, involving the arrangement of found images or
visual fragments into startling combinations, their new coexistance invested
with politically-charged meaning.

Rather, in Michael's case, the images that are intended to function together,
are created by the artist himself. Michael Meyer calls his works polyptics.
His large-scale pieces, sometimes sahped at the edge or split apart, are made
up of many small photographs whose images are interconnected and play out their
drama in grids. Michael thinks of these dramas as personal fables.

For him the grid does not function, as the modernist framework which operates
reductively to explore repetition. Michael's grids become prismatic, forcing a
fragmented experience into physical integration. The very repetition of modular
frames , especially when combined with the large scale of these pieces, brings
with it existance in time, adding an undeniably cinematic element to the viewer's
experience.

The sense of time evoked, is almost circular, a struggle with the constraints of
experience, that is quite claustrophobic. In his photographs, Michael explores an
existencial anguish, that is dark and disturbing, viewing his work like
"...the scream of the Beings", as a protest to violence, a scream for liberation
and against censures, where art is the only and last redemptive instrument.








"He will bring to light, what is
hidden in darkness and will expose
the motives of men's hearts.

Corinthians 4:5