Within the works of both artists the viewer is entering into a representation of reality in which boundaries of time are blurred and the subjects of the works are roaming free within indefinable spaces. Temporal concepts of beginnings and ends are broken down as the layers of Scheibl's work give room to actions of the past and present within the fabric of the paint itself and the hand of the artist at play. Similarly images of gymnasts floating impossibly in Soviet gymnasiums within Meskhi's photographs could have been taken generations before, however the ephemerality of his subject matter disturbs the context of time all together. For both Scheibl and Meskhi, the subject matter is often frozen between action and reaction, ignorant for that moment of its movement through the passage of time, providing an evocative melding of past and present and a sense of the fragility of memory. Movement plays a central role as Meskhi's subjects are swimming in space and Scheibl's brushstrokes create deliberate gestural-abstractions of motion.
Scheibl devotes himself to the pure essence of abstraction, without invoking any theoretical predecessors. Free from intellectual baggage, his compositions concentrate on the question of what is the pure, true nature of the objects he depicts. Floating in dematerialized backgrounds, the objects transport the viewer into cosmic spaces that suggest the possibility of another, intangible actuality. By means of cuts and fissures, which the artist draws into the still fresh paint, he partially exposes hidden layers of paint, hinting at spaces beyond the surface, penetrated by luscious light. This layering of spaces, which seem to emanate from separate universes, opens our view to a different reality.
As one regards Meskhi's works, they are presented with both an autobiographical visual diary as much as a social documentary, never certain if the artist is a mere third-party voyeur or apart of the scenes he is capturing. His childhood memories were shaped by sports—the gyms, athletic competitions, and training camps his father repeatedly took him to as a child and teenager. Hailing from a dynasty of successful youth sport coaches, he grew up in an atmosphere of ambition, sportsmanship and the pressure to perform. Refusing to obey the principles of gravity, his young athletes float in front of abstract coloured surfaces unconstrained by the laws of physics. It is only through our schematizing gaze that the backgrounds change into colourful gym floors otherwise defined by the bodies of the gymnasts and the glistening sunlight drawing shady patterns on the hall floor.
Using figurative elements, David Meshki opens up an access to abstraction, which continues in Hubert Scheibl’s paintings and, through his understanding of space and time, leads to an expanded conception of reality. By utilizing abstraction as a means to remove the layers of reality surrounding us, both artists arrive at the purest essence of the present.