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.
Oil, acrylic, embroidery, and adhesive on Canvas
107 x 135 cm | 42.13 x 53.15 in
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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 These historical documents are positioned alongside current realities within immigration detention centres, suggesting that the logic of control, punishment, and displacement has not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.
Projection and oil on canvas
130 x 97 cm | 51.18 x 38.19 in
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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.
Acrylic ink, gold leaf, and paint on Japanese yupo paper
99 x 73 cm | 38.98 x 28.74 in
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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.
Acrylic, oil, marker, pencil, pen, charchoal on paper
70 x 99 cm | 27.56 x 38.98 in
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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.
Engraving, collage, and oil on paper
55 x 45 cm | 21.65 x 17.72 in
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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.
Engraving, collage, and oil on paper
55 x 45 cm | 21.65 x 17.72 in
Delivery details will be sent privately to each buyer.
Taxes, shipping and handling is not included.
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.
Engraving, collage, and oil on paper
55 x 45 cm | 21.65 x 17.72 in
Delivery details will be sent privately to each buyer.
Taxes, shipping and handling is not included.
Signed Printed Catalogue
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