Describe your art!
My artistic practice has always revolved around materials and the stories they carry. I studied at the University of Applied Arts Vienna, focusing on textiles, and later continued my studies at Tokyo University of the Arts or Tokyogeidai in the field of intermedia art. Throughout my work I have been interested in textile production techniques as well as other materials that carry cultural, emotional, and symbolic meaning.
Many of the questions that drive my work are psychological and anthropological in nature. I’m fascinated by prehistory and by the question of how humans became human. What defines us as human beings? In the age of artificial intelligence, this feels more relevant than ever. My work explores the relationship between material, culture, memory, emotion, and the ways objects can embody meaning beyond their practical function.
What’s your connection with 25hours Hotels?
I created a large-scale carpet work using New Zealand wool for the lobby of 25hours Hotel MuseumsQuartier in Vienna. The piece combines text and space. I wanted the text to be as simple as possible, yet poetic and memorable, borrowing elements from theatrical writing and stage directions. It was carefully developed in response to the sightlines and movements within the lobby—arriving, staying, meeting, dining, and passing through. The text speaks directly to these experiences and is intended to be immediately legible, while still leaving room for reflection and imagination.
What’s next?
Currently I’m experimenting with leather, and I also have a show scheduled for early November with my father, Fritz Meran, who is now a photographer. It will take place at Feyreggerhaus—an old building from the 19th century located in my hometown of Micheldorf. It’s quite a special because when I was 17 I had my first exhibition there and my best friend who is a musician performed there. There was nothing inside for 20 years and now this little building has been rebuilt by my father and a local collective. My father started to take photographs professionally a few years ago. It’s quite emotional collaborating artistically with him as he’s turning 70.
What’s your interest in handbags?
Alongside my artistic practice, I run Borsa Nera (borsanera.at), a project dedicated to the restoration, curation, and reimagining of luxury and designer handbags. Sustainability is an important aspect of this work, but so is the idea that objects accumulate stories, experiences and emotional value over time. Concepts such as animism, magical thinking, and the notion of ‘ensouled’ objects are recurring themes throughout my practice. I believe that in a world increasingly shaped by digital technologies and AI, people are drawn to materials that feel organic, tactile, and genuinely lived-in.
How did you get into BAG restoration?
It was just a fun project. I wanted to repair my own things. I started when CHAT GPT was launched and AI. When everyone was scared about their jobs in art. It made me reconsider what I’m aiming for in life. I love working with my hands. I love material and good quality workmanship. I studied textiles and so it all came together as I researched bag repairs. It’s not rocket science, but it’s still linked to art. At the end of the day there is a customer, and a restored bag. A lot of people know me in Vienna, and a lot of people like that they get a curated bag from me, restored with some history and meaning. There are so many bags on Vinted, but its more about having something that’s one of a kind.
Have there been any memorable bag restorations?
One super nice elderly lady sent me a package with a very old Jimmy Choo bag in orange suede—a very loud bag—both visually and literally due to its heavy chain straps. She wanted to make it mocha brown. Another guy wanted to create a present for his wife for their anniversary. He bought an old Louis Vuitton bag and I painted it orange as this special edition bag wasn’t available in that colour, making it totally unique. Having a good leather bag that you can use for years is a great thing.
