Till Megerle: To be kind – An Exhibition of New Contemporary Drawings

This exhibition presents 13 new drawings by Till Megerle, created over the past three years. The works explore themes of alienation and the unsettling transformation of the everyday through distorted bodies and melancholic suburban landscapes, often employing a mix of traditional and contemporary visual references.

Till Megerle's exhibition, "To be kind," features thirteen new drawings produced over the last three years. These works depict unsettling scenes of contorted bodies and portraits of young individuals set against bleak, semi-urban landscapes, fostering an atmosphere of quiet alienation. Megerle's art consistently points to the inconstant, alien, and psychedelic aspects of daily life, where the familiar distorts into the unreal. The artist skillfully employs a diverse range of styles and techniques, moving beyond his earlier monochrome and sepia palettes to incorporate color in this exhibition. Utilizing charcoal, ink, colored pencil, and ballpoint pen, he refines his fine lines and graduated shading into compositions that challenge homogeneity through perspectival shifts and caricature-like exaggerations. In some pieces, the interplay of colored pencil tones creates a luminous, iridescent shimmer that contrasts with the figures' expressions, generating an uncanny tension. In others, the dynamic struggle or dance of figures is mirrored by the energy of strong complementary color contrasts, while independent ballpoint pen lines disrupt the planar unity. Megerle draws inspiration from art historical sources such as Pieter Bruegel and Matthias Grünewald, as well as pop culture references from skateboarding and Gabber videos. However, his myriad references are rarely easily identifiable, and he avoids postmodern irony, instead prioritizing the engagement with forms, subjects, and processes. His artistic method is characterized by a playful seriousness, driven by an almost teenage passion for meticulous and fervent work with simple means. This creates an interplay between rigorous and seemingly amateurish forms, evident also in his photographic and filmic language, firmly rooting his images in the present moment.

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