Raymond Meeks ruminates on the split concept of ‘home’

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The particular project explores the subject by means of photographing his Meeks’ teenage daughter, who is preparing to leave home for university

American professional photographer Raymond Meeks is well versed in the art of capturing an essence of that which is visually hidden. His final book, Ciprian Honey Cathedral (Mack ), is a poetic consideration of sensitive observations, juxtaposing the particular intimacy and human type of his partner, and the frailty of the unkept domestic house called home. Place, atmosphere and lover, interweave in order to conjure a profound sense of everyday reality with documentary photographs that convey instead of tell. Meeks’ photographs are much more a sensibility than an explanation with a nuanced expression that defines the work. Tables, chairs and walls are imbued with an emptiness as well as the trace of presence.

Meeks oftens photographs character, fruit, undergrowth, and dysphemistic trees. He describes that it can be “ the essence of a thing (place, person, experience) that I’m after – its residue more so than the thing alone. ” The photographer points out that as his work evolves, he more often looks for unfamiliar and unrecognisable subjects. “It’s as if, now, I am far less interested in making a picture of something in the world that can be named. If I can mention the product and, then it already exists and my picture of it is less urgent. I photo nature because I’m continuously astonished by it and want to spend some time observing, studying, giving attention to what nature gives back again twofold as I invest in this observation. ”

Image through Somersault, 2021 ©  Courtesy of Raymond Meeks and Mack.

Image from Somersault, 2021 ©  Courtesy of Raymond Meeks and Mack.

Not all of Meeks’ function depicts nature, however. Among the images of tree offices, landscapes and sky, all of us do in fact find architecture and portraits of their teenage daughter. “In terms of integrating pictures that will reflect nature, it’s nearly a purely intuitive plus accidental journey, at times, randomly, ” he explains. “Nature acts as more of a mimetic device than as a metaphor, echoing forms, gestures, or an ethos that is shown upon in a correlated picture. I’m trying to create suspension system and often to broaden plus extend a visual story. This relationship can both affirm what’s happening in the sequence or throw almost everything into chaos. It can maintain the overall story from resolving too neatly around 1 central theme. But it may also satisfy by affirming attractiveness as the central motivation at the rear of why I make pictures. ”     

Meeks’ projects are born from his own personal experience, of a failed marriage, and a questioning of what constitutes the notion of traditional ideas associated with ‘home’. Meeks is “someone who is haunted by an insatiable curiosity with regard to domestic living, the construct associated with home, what makes a home, just how it’s inhabited and in turn how it inhabits us. ” His latest book, Somersault , furthermore published by Mack, is usually once again an intimate portrayal set in the immediacy of the home atmosphere. This time, however , Meeks’ worry is directed towards his teenage daughter who is within the brink of leaving home to study at university.  

Image from Somersault, 2021 ©  Courtesy of Raymond Meeks and Mack.

“T he heart and soul of a thing (place, individual, experience) that I’m after – its residue in addition than the thing itself. ”

Image from Somersault, 2021 ©  Courtesy of Raymond Meeks and Mack.

Meeks first photographed his daughter at the age of seven, “out of curiosity and as an investigation, because I wanted to spend period with her and to ideally get to know more of the young female she was becoming, ” he explains. The photos in Somersault combine to show a certain apprehensive moment along the way of letting go, each time a grown child enters in to the real world of unfamiliarity and the parents adjust towards the increased sense of the passing of your time. In the book, Meeks writes that will his daughter, “continues to become somewhat of a mystery, as much of those I love remain challenging in terms of understanding. ”

Meeks’ photography is hopeful, tinged using a profound melancholy, and without cynicism. A celebration associated with life, lyrically expressed. Certainly when I suggest this in order to him he replies that will what, “you’ve just centred upon, in essence, is who We are as a human being and what I really hope my work can accurately depict and express. In case I’m true to this, after that my photography and the publications I construct can’t assist but be a reflection and extension of it. ”

Image from Somersault, 2021 ©  Courtesy of Raymond Meeks and Mack.

Michael Grieve

Michael Grieve has been an adding writer and photographer for that British Journal of Pictures since 2011. He has an MA in Photographic Studies from the University of Westminster, graduating in 1997, and began working on assignments as being a reportage and portrait professional photographer for publications. In 2008 he began writing about photography the deputy editor of 1000 Words Contemporary Photography Publication. In 2011 he began teaching and was a senior lecturer in photography at Nottingham Trent University and now teaches documented photography at Ostkreuzschule fur Fotografie in Berlin. He or she is the founder/director of Artwork Foto Mode, a project that will organises photography workshops internationally. Currently based in Athens plus Berlin.

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