open a coffin to color travelogue of spatial boundaries molecules unseen bounce off walls
green, why so absent? yellow is clarity blue is sagacity in blake it is light that builds
shape inexactitude measures reflections of shine glass skim peeled off floors [...]
— Excerpt, Instruction Manual by Bob Rosenthal

New York, New York81 Leonard Gallery is pleased to present artist Méïr Srebriansky’s first
solo exhibition in New York. The exhibition will open to the public with a reception on Thursday,
March 5th from 6-9pm and remains on view through April 30th, 2020.

Age of Resin presents Srebriansky’s resin works, amassed since his return to painting. After a
cataclysmic fire razed Srebriansky’s studio and destroyed his body of work, the artist took a
sabbatical from painting. Upon returning to his practice, Srebriansky experienced a strident shift
in subjectivity and medium; the artist evolved his paintings beyond pigment and canvas to
incorporate resin as a medium. The works on view in this exhibition represent epochs of this
painterly investigation, notably a new series of tulip and tondo-style paintings, resin and mixed
media paintings, and select works on paper.

Upon entering the gallery, the viewer encounters a vibrant spray of tulips rendered in resin and
affixed to the wall. The works posit a salutation to gallery-goers, who are called to consider that
tulips, like art, have historically incited frenzy among consumers and connoisseurs. As the titular
centerpiece of the exhibition, the tulips nod to the historic phenomenon of the Dutch Golden
Age appropriately coined as tulip mania. The works usher viewers into a metaphor for the
sensuality of art and its relationship to consumer culture.

Srebriansky’s resin works appear to break the fourth wall, protruding from their two-dimensional
frame with technical bravado. Srebriansky is, in fact, approaching the medium as though it were
pigment. Works like Sploosh (2017) are representative of the physicality of the act of painting
espoused by the artist that evokes confectionary, synesthetic qualities and prompts the viewers’
sensory faculties, among them sight, taste, and smell. These works reveal material explorations
involving puncturing, layering, and erasure, and the application of discarded resin elements from
prior works. The viscosity and transparency of Srebriansky’s materials yield compositions that
are simultaneously graphic, painterly, and perspectival.

The circular shaped-canvas works reference tondi of the High Renaissance, espoused by artists
for both Ecclesiastical and profane commissions in fifteenth-century Italy. The incorporation of
Mylar and the application of pigment in sfumato and chiaroscuro seeks to push forward
Srebriansky’s iconic graphic style, nevertheless placing the work squarely within the art historical
vernacular. Watermelon (2018) incorporates cartoonish signifiers rendered in acrylic and spray
paint that materialize among the impressionistic layers of the resin and suggest brief impulses
of subjectivity within the otherwise abstract composition. Napalm D’Or (Climate Change) (2018-
2020) maintains this whimsical aesthetic but reveals an earnest message. The work is a witness
of the symbolic climate change that the south of France (and the entire country) had suffered
after the traumas of terror attacks. Its title is a wordplay with Cannes' festival's prestigious
prize Palme d'Or and the explosive mixture Napalm.

The exhibition culminates in a salon-style presentation of works on paper, both a conduit and
foil to Srebriansky’s sculptural resin paintings. This cross-section reveals the subconscious and
psychoanalytic musings of the artist through a fantastical variety of subject matter and narrative
elements drawn from fact and fiction alike. Taken as a whole, the artist’s body of work can be
likened to an exquisite corpse, with each element referencing or precipitating from its own unique
source and whimsy, in direct dialogue with both predecessor and progeny.

— Ellie Hayworth

Age of Resin will be accompanied by an illustrated catalog featuring an essay by Rachel
Verliebter and poems by Bob Rosenthal and Scott Beal.

About the Artist

Méïr Srebriansky (b. 1976 in Strasbourg, France) is a New York-based artist known primarily
for his investigations in non-traditional media moving beyond oil and acrylic to incorporate cast
resin, wood, and debris in his practice. Née Emmanuel Werthenschlag, the artist creates work
under a pseudonym adopted in homage to his maternal lineage. Srebriansky earned his BFA
from École Nationale Supérieure des Arts Décoratifs in Strasbourg and has participated in
residencies at Vermont Studio Center and Con Artist NYC. He has exhibited nationally at ATO
Gallery, Blackbird Gallery, and Belskie Museum; and one of his murals is permanently on view
at The Mes Hall, NYC. He has also exhibited internationally at the European Parliament,
Strasbourg; and HK Walls, Hong Kong. Srebriansky’s studio is located at Mana Contemporary,
Jersey City, NJ. l @meir__s

About the Gallery

81 Leonard Gallery, founded in 2019, is an artist-run gallery that stimulates engagement in
critical thinking and culture. Founder, Nancy Pantirer, and gallery director, Elaine Mitchell, are
dedicated to promoting emerging artists. Through their exhibitions, artist talks, and publications
the gallery actively supports artistic freedom and dialogue. l @81leonardgallery l 81 Leonard Street, New York, NY 10013

Image: Méïr Srebriansky, Watermelon, 2018, Resin, epoxy, acrylic paint, spray paint and
polycrylic on wood, 48 x 72 1⁄2 in. Courtesy of the artist and 81 Leonard Gallery.

Media contact: Anna Mikaela Ekstrand,, + 720 254 2997