AFTER OBJECT | Sergei Mel
24 Feb – 18 Mar 2026

About
©Copyright Fabula Gallery | by Rattlesnake Group Limited
Dates: 24 Feb – 18 Mar 2026
Artist: Sergei Mel
Location: fābula HQ
Date:

June 22, 2026

Category:

AFTER OBJECT | Sergei Mel
24 Feb – 18 Mar 2026

AFTER OBJECT
Sergei Mel
24.02 – 18.03.26

fābula gallery is pleased to present Sergei Mel’s personal project AFTER OBJECT.

Sergei Mela’s practice is formed at the intersection of spatial thinking and plastic experimentation. Having received an architectural education and built a career in the field of design, he simultaneously developed painting as an independent, focused process. In recent years, this experience has been transferred to the exhibition field, maintaining the character of a long-term study.

At the center of his work is the form as a changeable structure. It appears as a mobile configuration capable of resembling a body or a fragment of a landscape, but each time it unfolds as an independent state — a temporary organization of movement, tension and material. These are local manifestations of a larger process, inaccessible to a holistic view, continuing beyond the visible.

This logic correlates with the concept of a “hyperobject” introduced by Timothy Morton, and generally echoes the line of cosmo‑pessimistic philosophy associated with the works of Eugene Tucker and Ray Bracier. Their work highlights the disparity between human perception and the scale of the processes in which we exist. The world is thought of here as a field of forces and dynamics that surpass any stable description systems.

Sergei Mel works with painting as with space. The surface of the canvas becomes a field of stress accumulation: dense areas are adjacent to sparse ones, dark masses are adjacent to light zones, forming a feeling of internal pulsation. Depth arises through layering, the interplay of textures, and the rhythm of color relationships.

Sculpture continues this process in volume and is perceived as a different mode of existence of painting. Sculptural forms look like clusters of movement, in which the gesture acquires weight and physicality. Sergey adds carbon fiber to the sculptures, which is a kind of contrast between organic and technical.

Plastically, Sergei’s works feel a dialogue with expressive tradition, including the work of Francis Bacon, through an interest in deformation as a way to talk about the fragility, vulnerability and instability of existence.

Sergei Mel’s works function as open structures in which the viewer is confronted with the state and space. The gaze moves, returns, lingers, following the inner rhythms of the composition.