Merikokeb creates an aloof, almost subterranean atmosphere in her paintings. An array of life bearing forms, such as orange seed pods, embryos, fallopian tubes, and pulsing cells, appear set against a network of gaunt, drooping female figures, and surreal yet earthly structures. There is a fertilized egg, through which the sperm, in its upward trajectory, has punctured a hole to escape from. There is a cow perched atop a mammary gland-like structure, but with its udders upturned. Merikokeb makes much of the vertical ascent of saplings, plants bursting through the surface, as well as the forces that resist and suppress their efforts. Both growth and decay appear in equal measure: a flower climbs through dense rock, if only to blossom and droop into the appreciative embrace of an exhausted and bonelike human figure.
Her work at once appears to be a celebration of these life-bearing forms, as well as something more decidedly complex - in her words, “the light, line, complexity, and density of the wide, thick fog and smoke; the happiness and hopefulness, misery and bliss of this life we are passing through.”