2026
Projection and oil on canvas
130 x 97 cm | 51.18 x 38.19 in
The Fugitive Immigrant Bill draws a direct and unsettling parallel between the Fugitive Slave Act and contemporary immigration enforcement practices in the United States. By revisiting a legal framework that once incentivized the capture and return of escaped enslaved individuals through financial bounties, the work questions the persistence of similar mechanisms in present-day systems of surveillance and reporting.
The installation juxtaposes archival footage from the Civil Rights era in Mississippi with material from the Parchman prison trials, exposing the continuity of carceral violence across decades. These historical documents are positioned alongside current realities within immigration detention centres, suggesting that the logic of control, punishment, and displacement has not disappeared, but rather evolved in form.
Collapsing the temporal distance between 1850 and 2026, Meshel constructs a visual and conceptual continuum in which past and present are inseparable. The work resists metaphor, instead insisting on recognition: what appears as progress may, in fact, be repetition under a different name.
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2026
Acrylic ink, gold leaf, and paint on Japanese yupo paper
99 x 73 cm | 38.98 x 28.74 in
Accommodation over Assimilation marks a work that remained unseen for an extended period, withheld during a phase in which Meshel was still negotiating her own sense of direction and confidence. Created earlier but only recently reintroduced, the piece reflects a moment of hesitation within the artist’s practice, where uncertainty shaped both its reception and its visibility.
The work underwent a process of reconsideration and reworking, culminating in a final surface treatment that prompted a shift in perception. Through this act of return, Meshel encountered the piece anew, arriving at an understanding that had not been accessible at the time of its making. This delayed recognition becomes central to the work’s meaning, positioning it as something that reveals itself over time rather than immediately.
The title frames the piece within a broader reflection on identity and belonging. Rather than conforming to external expectations or dominant frameworks, the work suggests an alternative approach, one that allows for coexistence without erasure, and adaptation without loss of self.
In this context, the act of revisiting the work mirrors its conceptual premise. Just as the piece resists immediate resolution, it also resists assimilation into fixed interpretation, instead asserting the value of evolution, reconsideration, and self-defined understanding.
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2026
Acrylic, oil, marker, pencil, pen, charcoal on paper
70 x 99 cm | 27.56 x 38.98 in
Erasure originates from a process of research and collective inquiry, in which Meshel gathered historical facts, personal narratives, and cultural knowledge shared by individuals from diverse backgrounds. These fragments, often overlooked, omitted, or insufficiently represented within dominant historical accounts, were initially inscribed across the surface of the work.
The accumulation of these texts forms a dense layer of information, mapping a plurality of voices and perspectives. This archive is then progressively obscured through the application of multiple thin layers of white acrylic paint. Rather than fully concealing the content, the process renders it partially visible, suspended between legibility and disappearance.
Through this iterative act of writing and covering, Erasure materialises the mechanisms by which histories are constructed, filtered, and suppressed. The work reflects on the ways in which dominant power structures, particularly those shaped by white supremacy, have contributed to the systematic removal or distortion of cultural memory, leaving gaps in collective understanding.
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2025
Engraving, collage, and oil on paper
55 x 45 cm | 21.65 x 17.72 in
Named after someone who embodies grace, dignity, and a presence that extends beyond place, Fly Sophisticate exists as both portrait and energy. The work reflects a figure who moves through the world with quiet authority, grounded, yet untethered from limitation.
There is a sense of knowing that exceeds the immediate wisdom that feels inherited, expansive, and almost otherworldly. The figure resists containment, moving beyond constructed expectations of identity and self.
In this way, the work gestures toward a kind of transcendence, one that recalls figures who exist outside of definition, who create themselves fully and without permission.
Within the exhibition, Fly Sophiscate stands as a presence, self-defined, self-possessed, and unbound.
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2025
Engraving, collage, and oil on paper and cardboard
55 x 45 cm | 21.65 x 17.72 in
Named after someone who embodies grace, dignity, and a presence that extends beyond place, Fly Sophisticate exists as both portrait and energy. The work reflects a figure who moves through the world with quiet authority, grounded, yet untethered from limitation.
There is a sense of knowing that exceeds the immediate wisdom that feels inherited, expansive, and almost otherworldly. The figure resists containment, moving beyond constructed expectations of identity and self.
In this way, the work gestures toward a kind of transcendence, one that recalls figures who exist outside of definition, who create themselves fully and without permission.
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2026
Collage, pen, oil, acrylic on canvas
67 x 117 cm | 26.38 x 46.06 in
Created following Meshel’s relocation in 2024, Where Good Things Flow emerges from a period of personal transition shaped by distance, uncertainty, and reorientation. Rooted in the artist’s family rituals, the work originates from an act of projection, mapping desires, intentions, and imagined futures onto the surface.
Developed as part of a New Year’s Eve vision board process, the composition incorporates written and symbolic elements that reflect both conscious intention and intuitive mark-making. Certain forms, such as recurring figures and motifs, appear without fully predetermined meaning, remaining open to interpretation as the artist continues to reflect on their significance.
Partially obscured inscriptions run throughout the work, recording statements and aspirations that are not immediately legible. Over time, these marks acquire a retrospective dimension, as the artist recognises within them the realisation of events that have since unfolded. In this way, the work operates between intention and outcome, positioning image-making as both a speculative and prophetic gesture.
Rather than presenting a resolved narrative, Where Good Things Flow remains deliberately unfinished in its meaning. It captures a moment within an ongoing process of becoming, where vision, intuition, and lived experience intersect, and where the act of making functions as a space for imagining and shaping what has yet to take form.
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2026
Collage, watercolor, coloured pencils, gold ink, pencil
70 x 51 cm | 27.56 x 20.08 in
Drawing on archival material from so-called “human zoos” presented across Europe in the late 19th and early 20th centuries, including sites in Italy, France, and Belgium, the artwork confronts the systematic exhibition and objectification of non-European bodies within colonial frameworks of display.
The work incorporates visual references to documented cases in which individuals from regions such as the Philippines, Ghana, and the United States were presented as spectacles for public viewing. By recontextualising these histories, Meshel exposes the mechanisms through which bodies were categorised, racialised, and consumed under the guise of education or entertainment.
Central to the composition is the representation of women whose images are drawn from archival sources. Their bodies, often displayed in states of imposed nudity, reflect the ways in which physical difference was exaggerated and fetishised to reinforce colonial hierarchies and narratives of otherness. In this context, the act of display becomes inseparable from systems of control and dehumanisation.
The work extends beyond historical reference, establishing a parallel with contemporary structures of confinement and surveillance, particularly within immigration detention systems. Without collapsing distinctions between past and present, Meshel suggests a continuity in the visual and political logic that governs how certain bodies are seen, managed, and contained.
Rather than presenting history as a closed chapter, the piece insists on its persistence, asking viewers to consider not only what has been documented, but how similar patterns continue to shape present realities. In doing so, it frames history not as repetition, but as resonance, where past structures echo within contemporary forms.
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2026
Oil, acrylic, embroidery, and adhesive on Canvas
107 x 135 cm | 42.13 x 53.15 in
As Above, So Below develops from the principle of reciprocity between systems, proposing a mirrored relationship between what exists above and below, across both natural and human domains. Rather than positioning these as separate or hierarchical, Meshel treats them as interdependent structures, where movement, behaviour, and transformation in one realm are reflected in the other.
Central to the work is the recurring motif of birds, each individually embroidered onto the surface. This process introduces a durational dimension, in which repetition and manual labour become integral to the formation of the image. The act of stitching each element by hand resists immediacy, embedding time, effort, and physical engagement directly into the work.
The accumulation of these forms creates a visual field that suggests both migration and pattern, echoing natural systems while simultaneously reflecting human attempts to interpret and replicate them. In this way, the work moves between observation and reconstruction, holding tension between organic flow and deliberate intervention.
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