The stranger who licked salt back into our eyes (2009) stop-frame animation 4min 55sec
The work recreates the history of the arrival of a stranger in a land where he has come to find himself and his love. The foreigner brings with him knowledge which is on one level enlightening but also burdening - a disability. With him he carries all his tools and crafts, the prosthesis he needs to survive and carry on his melancholic search. Bound to the earth through his disability, he cannot escape his serpentine existence. He burrows through the landscape archaeologically, unearthing historical evidence with hints of apocalyptic revelations of what has brought about his fate. The work subtly negotiates themes around xenophobia, with contrasting imagery from Greece (the origin of the word xenophobia is Greek ‘xeni’, meaning foreigner or stranger) and that of imagery from sites traversed by the Dorsland Trekkers across Southern Africa. The soundtrack is adapted from a traditional Swahili love song Malaika (Angel/love),long described as an unofficial Pan-African anthem, sung by Harry Belafonte and Miriam Makheba. It is sung from the perspective of a young lover who cannot marry due to financial woes.
There was earth inside them and they dug. Single-Channel Video Projection, 2004
The work forms part of The Sans Trilogy. Sans - from the French word meaning ‘without’ or ‘absence’.  The work is dedicated to the Jewish poet Paul Celan, with a line from one of his poems used as the title of the work. The quietly moving ‘still images’ form a grid formation of unnamed graves in the Karroo that become disturbingly ‘alive’ though slight movements of the camera. The morbidly slow soundtrack hints at a lost or unspeakable language – an attempt to uncover or unveil and whilst at the same time attempting to memorialise.
Silent Protest, single channel HD video projection, 2013

In Silent Protest, Meistre 'performs' two songs, one by the music group Belle and Sebastian and another by The Cranberries, in a discourse and interplay between himself and his double. Meistre is presented as a preacher/politician or figure in mourning in a desolate landscape, who is reading a speech to an absent audience. The work attempts to evoke the complexities and the depth of issues around sexual violence in South Africa and the impossibility of representation, particularly in the statistical  discourses used in a desensitised  manner particularly in isolated and rural communities.The work was made specifically for the Rhodes University (South Africa ) Day of Silent Protest in 2013.

Across my father’s fault,  Three- Channel HD Video Projection Installation
Across my father’s fault is a three-part site-specific stop-frame animation installation. The work was made on location in the Cradle of Humankind over a two week period in July 2013 during a residency at the Nirox Foundation in the UNESCO World Heritage site. The piece loosely narrates the emergence of the ‘first’ father – emerging from the primordial cave, wandering aimlessly across the land upon which he enacts his will. He is both perpetrator and victim and this burden he passes down like a torch through generations of the family like a so-called 'phantom'. The first film title, Bury us across my father’s fault alludes to the fault-line that runs through the Cradle of Humankind and to ‘fault’ in terms of blame. Crima is Greek for crime or more colloquially, 'a crying shame.' Clear a way for my father’s tear refers to ‘tear’ as a rip or shear but also as in to cry.