In his works, Harry Meyer is devoted to the elemental forces of nature – those energies that operate behind visible form and give rise to landscape itself. Mountains appear as manifestations of tectonic movement, trees as living carriers of growth, tension, and rootedness. They are not merely motifs, but expressions of inner dynamics.

The tree, one of his central subjects, becomes in this work a powerful symbol of both groundedness and upward striving. The trunk seems to emerge from the luminous, shifting terrain, while the branches extend far into the intensely rendered sky. The landscape does not appear static but rather caught in a process of constant formation -as if one were witnessing the very moment in which energy takes shape.

Characteristic of Meyer’s work is his exceptionally impasto application of paint. Oil paint is not simply applied, but almost sculpted. In this sense, he is truly a “sculptor” of painting: the surface acquires a relief-like presence that extends the work beyond the flat picture plane into space. Color becomes substance, body, structure.

It is precisely this pronounced materiality that creates a distinctive vitality. The impasto build-up generates zones of light and shadow that shift with the movement of the sun. The work thus enters into a subtle dialogue with its surroundings – it does not remain the same, but continually reveals new facets in changing daylight. Each viewing becomes a new experience.

For a collection, this work represents not only a powerful landscape position, but a piece with physical presence and a temporal dimension – a painting that makes energy visible and renders nature as a formative force immediately perceptible.