German artist Tobias Megerle’s work refers to the age of machines and technology, to human relationships and to the discourse about the potentials in painting itself. His paintings are populated by comical and robotic phallic symbols that appear to be in a lost world of video games. Trapped within the sharp edged and mechanical environment, sexual cognition and masculinity has been removed from the cartoon-like phallus. In this cynicism, the imageries debate between man and machine, vulnerability and aggression, openness and self-censorship, phobia and acceptance.

The subjects in the work have their root in the artist’s contemplation of the relationship between individuals and the various manifestations of social behaviors. In this post-modern world, we often wander and are lost in a space created and preconditioned by a set of collective social behaviors and self-indulgence. Says Megerle, “I am interested in simple questions. How does an individual position oneself to the group? What do individuals do in front of backdrop standardized by the society? What are the purposes of our action?”

These visually stunning paintings are also about transition, transformation and challenge. Phallic symbols have appeared in many ancient cultures, and certainly China is among one of them. In modern days, the open use of phallic symbols in certain cultures can be viewed taboo. Megerle’s hip-hop influenced and non-subliminal imagery demystifies such controversy. He wants the discussion created by his work to be cross-cultural yet personal.

Though appearing as calculated compositions, there are traces of free-expressions in the handling of colors and shapes in the work. In such a duality, the artist skillfully creates dialogues between visual elements, and emphasizes the debate of personal and social issues. The rigor of shapes and the thoughtfulness of colors contrast with light-hearted representation of penises in the forms of game-toy characters. Megerle’s work entertains yet provokes discussions.