Meoni’s paintings can take on various forms: a hint of a figure that, fleeting and provisional, moves in search of placement and a defined position within space; a close-up, partial view of female legs stepping carefully over trea-cherous ground. There are also bodies caught midfall, twisted in awkward postures; or clusters of limbs—arms and legs bending into improbable movements, stretching out and gradually taking over the canvas surface, reaching the edges and corners.
This attempt to portray the body as a form in turmoil, in evolution, corresponds with a deve-lopment of spatiality within the painting itself, as a succession of dynamic, unstable planes; the surface becomes a scene of struggle, fragmented and stuttering, able to accommodate unresolved gestures, patches of blind pain-ting, and small diversions toward abstraction.