Gregoire A. Meyer is a self-taught young visual artist currently living and working in London. Gregoire is an award-winning artist who examines the body through his art in its extraordinary simplicity as a biological, digital and aesthetic organism. He captures the essence of fleeting moments, like a jet of water or a face that disintegrates, and freezes them in time in objects that seem almost tangible. In short, his works create a complex relationship between facts and fiction.
In his technique, Gregoire uses digital illustrations to create distortions of the human form using shiny and dazzling metal components, broken glass pieces and splashes of water. Using light and shadow, the artist creates the illusion of a concrete object that leads the viewer to a reflection on reality and fiction. Its success is such that he has been accumulating rewards for more than ten years. In 2020 alone, he won the Shanghai Global Art Awards in the Digital Art category and won first place in Art Limited’s Digital Art Awards.
Gregoire A. Meyer is a self-taught young visual artist currently living and working in London. Gregoire is an award-winning artist who examines the body through his art in its extraordinary simplicity as a biological, digital and aesthetic organism. He captures the essence of fleeting moments, like a jet of water or a face that disintegrates, and freezes them in time in objects that seem almost tangible. In short, his works create a complex relationship between facts and fiction.
In his technique, Gregoire uses digital illustrations to create distortions of the human form using shiny and dazzling metal components, broken glass pieces and splashes of water. Using light and shadow, the artist creates the illusion of a concrete object that leads the viewer to a reflection on reality and fiction. Its success is such that he has been accumulating rewards for more than ten years. In 2020 alone, he won the Shanghai Global Art Awards in the Digital Art category and won first place in Art Limited’s Digital Art Awards.
