The 2022 exhibition Living Zen presented large-scale and lesser-known paintings by Meera at the Orangerie beside Munich’s English Garden.
The display took place from 24 to 29 May after pandemic restrictions had prevented earlier public presentations. The spacious venue allowed several of Meera’s largest works to be shown together.
Nature translated rather than copied
Meera’s paintings developed from encounters with natural environments, but did not attempt to reproduce them literally. The works translated colour, movement and emotional response into abstract or semi-abstract form.
The exhibition included a monumental painting previously shown only once, during an exhibition in Bahrain. Other large works originated in training periods in Ibiza, while smaller abstract paintings followed a visit to the Iguaçu Falls in Brazil.
These different sources revealed a practice shaped by travel and direct observation. Water, landscape and organic movement became starting points for painting rather than fixed subjects.
An exhibition built around experience
The organisers described Meera’s approach as a response to beauty capable of carrying joy into the finished work. That framing connected the exhibition’s title with a way of making based on attention, presence and emotional openness.
Interactive events and a separate creativity workshop accompanied the display. Musicians and volunteers also contributed to a programme organised near the time of the artist’s birthday.
Living Zen functioned both as a retrospective gathering of work from different moments and as a communal event. Its strongest element was the opportunity to encounter paintings whose scale and physical presence could not be conveyed through reproduction alone.
By placing the works beside one of Munich’s major gardens, the exhibition reinforced their relationship with nature while preserving Meera’s refusal to treat painting as straightforward representation.