Born in Taos, New Mexico. He is an artist, curator, and co-founder of GENERATOR, a project space in Albuquerque, NM. Meisner is an alumnus of the School of the Art Institute of Chicago and was an E.B. Stoeckel Fellow in the Norfolk program at Yale University. He has worked for the Chinati Foundation in Marfa, Texas, most recently assisting in the conservation of Donald Judd’s outdoor concrete works. In 2010, he was a resident artist in Berlin where he began experimenting with sculpture and many of the ideas that have taken shape in his most recent work.
Balancing fast, intuitive color decisions and placement with prolonged periods of editing and adjusting (in some cases over a number of years). Experimenting with small shifts in value and intensity to maximize the potential color interaction. Calibrating the dark areas of the painting to create subliminal vibrations with the colored areas. What might read as"black" is actually a complex color mixture that takes advantage of complimentary colors and admixtures to resonate in specific ways with other elements in the work. Very sensitive to the amount of visual static created within a specific color by allowing more or less canvas weave to push through the knifed-on pigment. This static creates secondary and tertiary tones within single hues and keeps the color from becoming flat, "slick", or graphic.
Activating the "negative" space as a positive force in the painting by using texture as a platform to manipulate reflected light. This is also advanced by careful attention to the surface sheen of the painting (from gloss to satin to matte in different areas of the work) in relation to the type and amount of texture that is developed over time on the surface of the canvas. (Not depicting movement, but continually re- forming the painting by keeping the surface active as the viewer moves around the work and as the light shifts...)
The works exist as paintings... as objects that appeal to vision and optical relationships, but they are equally objects existing in space that call attention to their own mass, surface, texture, weight, etc. The relationships between optical and physical surface qualities are often further complicated by the handling of the paint, making it difficult to determine how the paint has been applied and in what order the layers have progressed over the development of the work.