Review by
CHRISTOPHER SCHUCH
Raymond Meeks’ photographs in his latest show Topsoil depict a vast and barren landscape. Photographs of overturned soil seem to be taken from a perspective that suggests Meeks himself was lying on the ground. Repetitive images are only differentiated by their titles, indicating an exact date and time when the photograph was taken. Many of the photographs, often printed on vellum, speak of a cold, dormant ground which is, in reality, in a constant state of transition.
Left: Untitled I, Romania 1993
Copyright Raymond Meeks
The viewer can deduct that in just months life will spring from this churned soil. The suggestion of continuous transition is relayed in further images depicting people within the landscape. Some present figures standing around a fire in the Untitled 1-3, Romania series while others reveal delicate moments with Meeks’ children and his immediate surroundings (some images resonating with those produced by Sally Mann).
Blackbirds appear frequently in the images proving, perhaps, that the soil remains fertile even in a dormant state. Their integrity is questioned, however, as one finds recurring figures and formations and sometimes an overwhelming amount of birds Meeks has been able to get so close to. Did these winged creatures exist in the landscape he photographed, or were they added later?
Right: An Observation Winter Garden, 2008, Copyright Raymond MeeksMeeks comments that the photographs in the show are inspired, in part, by the works of Rick Bass who writes:
"You can rot or you can burn but either way, if you’re lucky, a place will shape and cut and bend you, will strengthen and weaken you. You trade your life for the privilege of this experience-the joy of a place, the joy of blood family: the joy of knowledge gotten by listening and observing."
The show is a glimpse into a period of joint dormancy and transition both in the landscape and in the individual. The show is accompanied by a few artist books, two of which are exceptionally beautiful and complete with toned silver gelatin prints. These seem to be the hidden gems of the show and are a treat to find resting quietly in the rear of the gallery.
December 13, 2007 1:16 p.m.
Copyright Raymond Meeks
Christopher Schuch is a graduating senior at the Art Institute of Boston. His recent photographs investigate the harvest of natural resources and what becomes of the land during and after the process. For more information about his work visit www.christopherschuch.com
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