Mersch’s interest in blending the local with the global is as clear in his gallery’s exhibitions as it is in the origins of his artists. In a recent exhibition
, acclaimed Australian artist Janet Laurence
presented work that is both highly localized and broadly relevant: glass specimen cases containing leaves, vines, and flowers gathered during Laurence’s trip to Kimberley (a remote section of northwestern Australia) and gorgeously vivid layered images of the region’s primeval forests speak to the fragility of the country’s natural reserves, but also to the wider health of the planet. German artist Elger Esser
’s photographs of anonymous landscapes—liminal places that could be anywhere—work in a similar fashion. Since the mid 1990s, Esser has captured the horizon at secluded beaches, waterways and wetlands across Europe, Africa, and North America, treating them with a uniformly monochromatic finish that lends them a surreal effect. For an upcoming show
at Dominik Mersch Gallery, Esser has turned his lens on lighthouses, shipwrecks, and piers along the Australian coast, but, as in Laurence’s work, the specific yields to the general; the lonely locales could be anywhere.