Zoe Meyer’s sophisticated, wide-ranging, and ambitious practice is grounded in the mindful acknowledgement that all experience exists between the knowing and the non-knowing, between human and non-human beings, and between the revealed and the referred to, in a state of suspension, uncertainty, and deep-seated inward pursuit.

The exhibition it is a body. it is your body. reflects Zoe Meyer's approach of using repetition and variation in her daily, spontaneous writings as she explores themes of existence, experience, wandering, and comfort. The notion that one body is equivalent to another, or that one body mirrors another, carries an ethical significance. The body of another reminds us of our condition, our vulnerability, reflecting the artist's awareness and otherness as a fundamental guiding force.

The exhibition opens with two works produced in situ by the artist, with left hand (2025) on the left wall and right hand (2025) on the right, as a gesture of holding together the space and enveloping the visitors.

The textile materials of this exhibition are primarily sourced from different regions in Italy, including Sicily, and were historically woven, sewed, embroidered, and transmitted from one woman to another, from one generation to another, from one home to another.

february waning (2025), situated in the centre of the room, is a single work made of different scenes where texts, bodies, ecosystems, and other fragments appear, evoking a cosmogonic epic.

Curving from the ceiling down to the floor, an osmotic barrier (2025) ends in successive folds that reveal parallel red lines, attempting to depict and interpret the birth of a line coming out from a celestial environment.

Either thought of as rebuses, short stories, or visual poems, into the shell you go (2024), odd anatomy (2024), suspended in an unfinished net (2024), untitled towel [2] (2024) and I Put My Stomach on the Table but Still I Will Hide it from You (2023) are small-scale works on tea towels, handkerchiefs, and tablecloths, grouped together in a cloud-like arrangement on a separate wall.

big branch (2025) represents a central scene where the enigmatic and referring action suggests an invitation to a distant world full of wildlife. we are gazing / is this violent (2024) and fresh out of the baths (2023-2024) give the impression of personal mysticism, diary entries, and glimpses into a story written by someone else or pertaining to other lives, or even concise poems wrapped in a myriad of realities not directly visible or accessible to us.

With it is a body. it is your body. (2025), the body is transmuted, altered, made different, and rendered sometimes unfamiliar.

Bodily and embodied dimensions are notably evoked with the video work Geneviève (2019), which portrays a woman exposed to violence at a psychiatric institution by means of transposition and introspection rather than direct evocation and illustration.

The processes of embroidering, film experimentation, notably through image and sound recording and editing, and writing are all aspects that offer a break from the immediacy of the moment, favouring a deeper form of emotional engagement with the world.

By testifying to the existence of other bodies, Zoe Meyer celebrates their distinctive lives, inherent weaknesses, and hidden sufferings as well as their secret longings. Zoe Meyer’s powerful, uncompromising, and radical work bears witness to the artist’s independent and refined spirit and her desire to tie threads, fibres, images, and spoken and written words beyond divisions and assumptions.

Zoe Meyer’s work travels through missing spaces and indecipherable traces, to acknowledge what it means to express knowledge without fully understanding it, somewhere between what reality brings to experience and what it takes away.

Théo-Mario Coppola

Curator of the exhibition