shape+colour 2009: i have left, but i have not gone.

Looking back on 2009, I’m unquestionably drawn to my most memorable experience of the year, and one of the most important of my life. More than just recall it, I’m trying to figure out, months later and on the verge of a brand new year, what it is that I actually learned from it.

It would be easy to tell you that I learned a great many things in South Africa. That I had opened myself up to goodness and realizations. That I had become a better person for having been there.

I want to tell you that because it seems the right thing to say. It’s the expected conclusion; the polite transference of an experience from one person to others who may or may not have a similar experience. I want to tell you that what’s been done has filled me, but the effect has been the opposite: I have realized that, in many ways, I am empty.

Or, rather, I’ve been made aware of just how much space there is within me to be filled.

I’m a teacup of water that finds myself poured into the sea. A birthday balloon slipped from the wrist and twirled into the fullness of the sky. I’m the combined glory, the mixed blessing, of a single grain of sand that’s suddenly found itself offered a return to the beach. One in an infinite assembly. No more. No less.

What I want to tell you is that I am not the same, but I am not distinctly better. I am different, but not necessarily improved.  I will only be better, I will only be improved, if I do more.

I have a responsibility now, and with the opening of this door a potential pact is made. You can look through and convince yourself that you know what’s on the other side and continue to live your life as you always have, or you can walk through and actually discover it.

The first option guarantees a safe return; the latter… well, that is the trade-off that must be made. True ignorance may be bliss, but to attempt to reclaim ignorance is an intentional evil. I cannot pretend to not feel what I have felt. I cannot shrink into a shell and pretend to not have seen what I have seen. If I want to look into my own eyes in the mirror until the end of my days, I must honour the truths I’ve been handed.

I must do more, and I must ask you to do the same.

These people have given me far more than I could ever have given them. I have so much, and yet in many ways I have nothing. According to common logic on my side of the planet, many people in South Africa have  “little.” Yet, in reality; in experience; in purity of purpose; in an authentic understanding of joy; in an honest struggle to thrive despite being given so few reasons to be able to; they have infinitely more than I do.

Too often we count our worth through the materials we hold and horde.  They, without materials, express their love in kindnesses. In honour and recognition. In sincerity. In a reluctant hope and a noble, personal type of joy.

Our true meaning simply cannot be held in our hands. Now I fully understand the reality of being “spoiled.” The focus is not on the fact that something has turned bad, but in that it once was good. The tragedy is in all the potential that was never realized. It’s not the intent that was spoiled, but its possibility. It’s not a loss of the present, but of the future.

They’ve shown me the beauty of small mercies. I remember six hungry workers, nestled in the shade around bowls of grain and one large bottle of Orange Fanta, who with only enough for themselves and despite their hard-earned hunger would not hesitate to offer me something to eat.

They’ve show me  the weight of the smallest joys. Ostensibly inconsequential to many people I know, but to these children an experience of joy: the amazement of hunting small mouth-blown bubbles. Glimmering spheres of light bobbing in the thick African sun, captured and then freed with a tiny plastic paddle from jars the colour of candy.

After a day’s voluntary work we’d pass small bags of Jelly Tots into their hands. Then would come the moment of resistance, the expression that says “is this really for me?” before turning to run away and deliciously rip into their prize. Each piece was examined and valued, turned between two tiny fingers, held up to the light and inspected like a jewel, before being almost ceremoniously placed into the mouth and then slowly savoured.

This is the power of a packet of candy.

And this is something we’ve forgotten. We don’t teach this to our children. And when we grow up we have long since forgotten it.

The power of water, cradled in ice and preserved in a bottle. To pass one of these vessels on, to a woman who normally must travel, then pump, then lift and carry it home, usually upon her head, is not anything as arrogant as a gift to her but a burden to me. She walks a mile and takes 50 pounds home; I turn a faucet. The physical weight may be hers, but the heavy realization of the imbalance in our world is mine. Then to see her face, proud and upturned, and to see her drink, quickly, on a day so hot and dry that water tastes as sweet as honey, is more of a joy to me than any gift that’s ever been placed into my hand. Her “thank you” humbles me.

For Eunice, a mother of three and a bedrock of strength, who, despite my soft hands and weak back and obvious lack of skill, left her work to not only show me how to do mine, but in the process of teaching me completed my task for me. Digging a hole, a seemingly rudimentary task, into the rock-hard soil: after my two hours and six inches, Eunice, in a flourish, showed me how to break and remove the last two feet in about fifteen minutes. Requiring nothing, in exchange for nothing more than a smile and the look of bafflement on my face, she returned to her building. The fact that my resulting celebration of her and mockery of myself meant so much to her is a clear testament to the fact that glory grows differently there.

For Nelson, the quickest kid in town. Fourteen years old but looked eleven. The first to lift a sandbag, unafraid of ridicule or mockery from his friends for being the first to talk to us. The joker. A kid with an undeniable intelligence that transcends language.

When I asked his name, he said, “I am Nelson Mandela, President of South Africa.” Fearlessly, he stuck to it.

Later on, “No, really, what is your name?”

Smiling, “I am Nelson Mandela.”

And so Nelson it was.

Nelson worked tirelessly, each day, always smiling. He could not be deterred. Proclaiming himself as the former President of South Africa was about the extent of his English. Somehow, he had that line down perfectly but any other kind of conversation didn’t seem to work. And so a new method of communication was found: a nod to signal the passing of a new sand bag; pointing around to determine where his house was; fingers and hands to calculate his age; and, perhaps the most important of all, the silence. The purity and power of quiet, agreed-upon work. No words at all.

The last day I had a child’s soccer jersey, maple leaf-red and shocking white, with “CANADA” emblazoned across the front. I took it to him and said, “This is thank you.”

Pointing around; to the sun, the sand, the brush and mountains and lemon trees; to the cattle paths and brick huts and wisps of cloth caught in the reeds; to the long, dry, horizon; the harsh beauty of South Africa; I pointed around and said “South Africa, you live here.”

I looked into his eyes, pointing to the jersey, “Canada. I live here.” He nodded, and holding the jersey to my chest I passed it over to his. And that was all.

Finally, we must do more for us. Because when one person suffers, when any one of us is impoverished or unhealthy or forgotten, we are all diminished. Our light dims.

There is one thing I know that I have learned: as Anne Michaels said in her novel Fugitive Pieces, “I know now that I must give what I most need.”

Love. Compassion. Acknowledgment. Health. Safety. We can never truly experience these while they are denied to others. If we do nothing, we harm ourselves equally. For what we give them we give to ourselves, and what we deny them we deny ourselves.

The last day, packing up the trucks to leave, Nelson and his band of compatriots were standing on the side of the road like every other day: waiting to wave and stand in the road, watching us watch them until both of us descend under the dusty hills into a fog of truck trails.

I hugged him and, shaking my head back and forth, said, “This is our last day. We won’t be here tomorrow.”

Grinning, always grinning, he nodded and said “Yes, tomorrow.”

“No, we won’t be back here tomorrow. We fly away…” The flat palm of my hand ascending into the sky and pointing up. As if my hand gesture could explain to him the meaning of a plane when he’s scarcely ever been inside a truck.

The thought that Nelson would come back the next day and we wouldn’t be there leaves a hole in my heart that will never be filled. Because I cannot explain to him that we won’t be back. Because I cannot know if he understood. Because I will never know if he came back the next day.

Because I can’t explain that I will never forget him.

My face grew hot. “No, we are leaving. We won’t be here. I want to say good bye.”

A grin. A nod. “Yes, good bye tomorrow,” he said.

A pause.

“Yes,” I said,

“Good bye tomorrow.”

All images © Tom Oldham Photography

shape+colour = 2.

This week shape+colour turns two years old. I still remember sitting down to start up with WordPress and write the first post. I had no idea how many amazing things would come from it and how many art lovers, fellow bloggers,  and crazy talented people, from all around the world, I would have the privilege of meeting.

Major thanks to everyone who stops by and to everyone who shares their own work, their links, or their thoughts. It means so much to me that you take time to send your art and your opinions my way, and I can never thank you enough. Art is meant to be discussed, pondered, considered, and shared, and sharing what I love with all of you is one of the biggest highlights and most special parts of my life.

Jeremy.

merman: dedicated to matthew shepard.

Matthew-Shepard-Fence

11 years ago tonight, a beautiful young wisp of a man lay comatose and bleeding to death in a hospital in Wyoming. 10 years and 364 days ago, I realized for the first time that there were people in the world whose hearts were so black they would want to kill me simply for being gay.

This was not one of the usual demons I’d read about: parents who’d renounce you or kids whimpering “faggot” in the hallway. This was a real monster. There were people in the world who would beat you until your bones broke so you could not run and your face bled so badly you would not be recognized. They’d strip your humanity away until you didn’t even look human anymore. And they’d tie you to a fence with your own shoelaces and leave you there to die.

When I think of Matthew Shepard I hurt. There is very little separating me from him other than the random elemental geography of where I happened to be born. We were both born close to the same time and both in the vast middles of our respective countries. We lived in small towns in long, wide, flat, open places where the sun sets for days and the sky never ends. And we were both gay. There but for the grace of God go I…

His legacy to us is both a freedom and a burden. His murder unlocked a societal door and in the last 11 years, for all of our turning, we have not opened it. We do not always carry this weight well. We get lazy, we let shit slide. And each time we don’t stand up for ourselves, we let Matthew bleed a little longer. We let Lawrence King’s wound rip deeper. We let Sean Kennedy fall to the pavement and break a little harder.

Candlelight Vigil For Slain Gay Wyoming Student Matthew Shepard

We owe the dead an absolution. It’s no longer enough to just remember them. We need to fight for the rights that their deaths have paved for us. If we are more free now, it’s because we walk on their backs. If we are less free, it’s because our apathy and stasis will dig our own graves.

Remember, there are people in the world who’d be only too happy to help us slide into them.

I promised myself that if I ever developed any kind of voice I would use it to encourage and gather the kinds of decent, humane, forward-thinking people that have always been the ones to find their own personal strength before they can fight for a social one. Caustic, divisive, violent people have no inner-voice; they are hollow and so their emptiness leads them easily, thoughtlessly, and rapidly to attack and decay. Their hatred is so fast.

The kind, the good-hearted, the caretakers of humanity – our first reaction is shock. Dismay. Disbelief. Though we are filled with love we wait too long. We are gilded with the will to create, not to destroy, and we look inward first. We are slow to respond because our deeds are imbued with thought. We move forward with grace and vision. But while we take our time some of us are killed, more of us are beaten, and all of us are denied the rights we deserve. For no matter which country we live in, and the laws and protections some of us are lucky enough to have, when one person, anywhere, is denied their equality we are all fundamentally less equal. Our humanity wanes.

So we must move faster. And as we do we will gather and we will take a step forward, along the path that all decent people have tread before us, towards making things solidly, purposefully, permanently better.

It’s no longer acceptable to let a muttered “faggot” slip by. It’s no longer acceptable to leave our boyfriends and girlfriends at home while we sit at the Thanksgiving table with our families. It’s no longer acceptable to pass for straight when it’s convenient for us. For if we do so then we will sit and wilt and erode while our rights are slowly, secretly denied by our own governments and our love becomes locked inside our homes and is never allowed to shine.

If you’re anywhere near Washington this weekend you need to go there to scream, shout, and march with all the vigour and passion you feel when someone hates you for nothing more than the person the universe crafted you into. Turn their hatred into your rallying cry.

We are whole. We are right. We deserve to love openly. We belong here. We’ve done nothing wrong except, perhaps, to let our innate goodness lead us to not be vehement in our own defense.

So now, for Matthew and all of those gay men and women who cannot, we must fight.

Please visit The Matthew Shepard Foundation. Please read “Losing Matt Shepard” by Beth Loffreda.

In honour of Matthew, I want to end with a moment of beauty. In October 1998 my favourite musician, Tori Amos, was touring and started playing a B-side called “Merman.” Though the song wasn’t written about Matthew, she began to dedicate it to him during her live shows. She told Attitude Magazine in 1999 that “A lot of guys were asking me to sing it for him and it just kinda took a life on of its own.”

It’s not hard to see why:

go to bed
dream instead
and you will find him
he’s a merman to the knee
doesn’t need something you’re not willing to give
he’s a merman
doesn’t need your voice to cross his lands of ice…

…let it out
who could ever say you’re not simply wonderful
who could ever harm you
sleep now

shape+colour + tumblr + vimeo.

Hey everyone. I don’t post about myself personally very often here, so first off a big thanks to everyone who’s reading shape+colour and to everyone who sends me their stuff, post ideas, or videos. You have no idea how much it means to me. The best part of all of this is when people share with me things I wouldn’t have found on my own.

I want to let you know about (and invite you to) some new facets to shape+colour: a Tumblr and a Vimeo. Why? Here’s why…

1. shape+colour on Tumblr.

Tumblr has been called a lot of things: microblogging, multi-media blogging, micro-media blogging, whatever. On shape+colour I try to curate my favourtie videos and artists and actually write about them. I think of it as an online gallery magazine; I want to share my thoughts about the work and the artists, and not just namelessly, wordlessly post.

Sometimes, though, I do find videos, images, or work that I think is rad but I don’t have much to say other than that. shape+colour on Tumblr is where I’ve started posting random shots, quotes, inspiration tidbits, and images that I’m into but that don’t warrant (for me) a full post on shape+colour. I also talk about what I’m up to personally. Or sometimes I just bitch and moan. I also swear more there. So, if you’re on Tumblr come tumbl with me.

2. shape+colour video on Vimeo

Vimeo is my favourite site on the net. I live for motion art (as you might’ve guessed) and so I started a shape+colour video channel on Vimeo. My hope here is to loop in more closely and share contacts/likes with other Vimeo users. I’ll be linking to all the videos that I post from Vimeo on shape+colour, but, like Tumblr, I’ll also be adding tons of videos that I like but that I don’t post here. I’m hoping this will create a quicky, sleek, easily searchable portal for all my fave vids on my fave site. So, again, if you’re on Vimeo let’s be contacts. If you’re a film-maker on Vimeo, or someone I’ve posted on before, please let me know so that I can subscribe to your updates.

off to south africa…

Howzit. Tomorrow I’m heading off to South Africa. I’m not sure what the internet connection (if any) will be like in the rural area where I’ll be, but while I’m there I’m going to try and update on my trip-blog, Small Great Love.

I’ll be back posting to shape+colour on April 28th.

small great love.

Hey everybody. Some of you have noticed the new tab at the top of the blog, but today I’m officially kicking off a side project: Small Great Love.

Next week I’ll be going to South Africa, with 9 other people from Virgin companies around the world, on a “Wake Up Trip” created by Virgin Unite – Virgin’s global charity. We’ll be heading to Newington – a village about 6 hours drive northeast of Johannesburg – where we’ll spend a week building a crèche (the South African term that’s similar to “kindergarten”) for the local families. Their current crèche is run down and, even worse, the 5 and 6-year old kids are forced to cross an active railroad track to get to it. We’re going to not only be building on the safe side of the tracks, but we’re also going totally environmentally friendly: VOC-free paint, recycled materials, eco-friendly learning toys, a play set made from recycled tires, a vegetable garden, rain-water collectors, and way more.

Starting today, I’ll be chronicling the trip on Small Great Love. The name arose from a quote by Mother Teresa, that “we can do no great things, only small things with great love.” This idea means a lot to me; it speaks to the power we all have to do small things that are unspeakably meaningful. If we look at the world as a whole, our problems easily seem insurmountable. But with acts of small great love any person, any where, can make a difference in the life of someone else. To me, that’s such a beautiful, life-affirming thing.

If you’re into it, please check out Small Great Love. Follow it so that I can show you the trip. And if you want, you can also donate online to the crèche directly through Virgin Unite. The more cash we can raise, the more support we can give the kids at the school. Thanks y’all.

smallgreatlove

myself + appendicitis = thoughts of terry fox.

Sorry for not posting last week, but I have a decent excuse. 8 days ago pains in my abdomen led me to an emergency room, where I found out I had acute appendicitis and the next day my traitorous appendix was removed. It’s odd when your own organs decide to mutiny. So now I’m pretty much free of all my unnecessary biological parts: tonsils, gone; wisdom teeth, gone; appendix, gone. It’s interesting the way we’re evolving and shedding all these vestigial pieces of ourselves, genetic hold-overs from when we ate bark or had tails. After all… what did you think your tailbone originally was for anyway?

The ironic part was that, only hours before the pain started, I’d been reading “Terry”, Douglas Coupland’s exquisite photo-biography of Canadian cancer crusader and all around hero Terry Fox. The beginning of the book deals with his diagnosis of osteosarcoma, the resulting amputation of his leg, and his time enduring chemotherapy. I’m not comparing appendicitis to cancer in any way, but I’d been thinking, as I read, about how long it had been since I’d been in a hospital, how scary it must be, how lucky I was to have been healthy for so long (in retrospect, I was basically daring the universe to smite  me with something…) Twelve hours later I was in a hospital myself. Then they gave me morphine, and I didn’t give a fuck about much after that. The next time something hurts, I highly recommend intravenous morphine. 

terry_fox-752297

 

If you’re not familiar, Terry Fox is an icon and an intrinsic part of being Canadian. His name is spoken in hallowed tones: I’ve seen people grown instantly quiet and still and almost break into tears at the mere mention of his name. That’s how deeply ingrained in our national conciousness is the idea of Terry Fox.

He’s the quintessential Canadian superhero: humble, idealist, innocent, extraordinary. Boasting is completely un-Canadian, and Terry was a model of pride and modesty. A trail-blazer, he did unbelievable things, but didn’t seem to think himself deserving of any more praise than anyone else. He turned down every corporate endorsement, including a major one from McDonald’s, in an effort to keep all attention on his purpose. Any money given to him was to be donated to his cause, no advertisements or branded-strings attached. His aim was pure. His legacy was to be left in his actions, not in an image he was trying to create. Like a prism, plain and unassuming cradled in your hand, never hinting at its inherent glory. But when held up to the light by another, it bursts into a constellation of rainbows. Terry was that prism, and his modesty and unifying determination led the people of Canada to hold him up to the light. 

nlc010246-v6

After losing his leg, Terry Fox trained for 18 months before he began his Marathon Of Hope. To achieve his goal of raising $1 for every Canadian ($24.17 million to match the population in 1980), he was going to run 8000 kilometres (5000 miles) across Canada. Simple. He would run a marathon – 42 kilometres (26 miles) – every single day, from one end of the second largest country in the world to the other… with one artificial leg. Nothing even close to it had ever been attempted before. 

He began on April 12, 1980 and in the months that followed wrote one of the greatest stories the world had ever seen. 143 days later, after running 5,374 km (3,339 miles) he was forced to stop due to pains in his chest. His cancer had returned, and Terry flew home to resume treatment. This is where everyone else kept running when Terry could not. A nation-wide televised fundraiser, watched by Terry from his hospital bed, raised more than $10 million dollars in one weekend. By February 1981, Terry realized his dream as the Marathon of Hope passed the $24,170,000 dollar mark. A dollar for every man, woman, and child. That June, one month before his 23rd birthday, Terry Fox passed away. 

That September, the first ever Terry Fox Run was held. In Terry’s honour, people raised money to compete in a non-competitive run. This was the blueprint, the genesis, for the countless numbers of walks and runs held by almost every medial fundraising organization in North America. Like most things he took on, Terry did it first. 

Today, the Terry Fox Run has raised more than $400 million dollars, and more than 2.5 million people have participated in the run in 53 countries around the world. The cancer that claimed Terry in 1981 then had less than a 50% survival rate. Today more than 70% of people diagnoses with osteosarcoma survive.

I think Terry would like that. 

shape+colour = one.

It started with several harrassing emails from my boss telling me I should start a blog. And so, exactly a year ago today, I started shape+colour not really knowing where it would go or what would happen. I never would have thought that, 450 posts later, shape+colour would evolve into such an important part of my life: I’ve met so many crazy and inspiring people from all around the world, had the thrill of talking to some of the artists I’ve blogged about, been sent so many cool messages out of the blue, and experienced an incredible thrill over sharing, at the end of the day, basically whatever I think is beautiful.

To everyone that comes here and reads shape+colour, I want to say thanks. We may not all know each other by name, but wherever you are in the world, if you’ve been here more than once, I’m hoping it’s because we share the love and desire, curiousity and amazement, and never-ending possibilities that lie within our collective drive to create and experience art together. And that is pretty fucking awesome.

I’ve got some goodies in store for 2009. Thanks for being here for the beginning.

birthday1

s+c interviews: meg wachter.

S+C Interviews is back! This time I’m totally pumped to have spent some time with NYC-based photographer Meg Wachter. I fell madly in love with her photo project “Dumped”, which has received some major and well-earned buzz. Turns out Meg is as rad as her need to douse people with breakfast cereal and take pictures of it, and she was kind enough to send some equally excellent out-takes from the “Dumped” shoot and some other remarkable and personal images as she shares her thoughts on “sploshing”, fake blood, and Björk…

Me: Tell me a bit about your background. How did you discover photography?

Meg: I discovered photography in high school and used the darkroom as a means of escaping my social awkwardness — I also admittedly had a crush on a boy at the time in my class. We only had one or two levels of photo classes, so I attended a photography workshop at local college over the summer for gifted and talented students. That was also my first exposure to retouching that I can remember.

As a senior in high school, I applied to Ohio University’s prestigious school of photojournalism and was rejected (in all honesty I didn’t know, at the time, the difference between photojournalism and commercial photography.) I still attended O.U. anyway and reapplied my sophomore year to their school of visual communications as a commercial photo major. I was accepted and managed to finagle my way out of having to attend a 5th year of schooling by taking classes for my program before I was even accepted. My whole background in photo has basically revolved around the theme of me making things happen for myself, despite major obstacles. I still don’t like being told what I cannot do.

Me: Let’s talk a bit about your series “Dumped.” How did the idea come to you?

Meg: I think Dumped was induced by a dream. I keep scraps of paper next to my bed when crazy thoughts need to be accounted for.

Me: What’s the process like for shooting “Dumped”? How do you recruit the “dumpees” and how many dumpings does it usually take for you to find the perfect shot?

Meg: The subjects in this series were my ever-willing friends. I promised them food and booze and a hot shower and they obligingly humored me. This series is proof of one of the many reasons I love photography and the things you can talk people into doing for the sake of a photo. There was only one “take” per person as it is messy business. I’d say about 50 frames per “dump” which happened in mere seconds.

Me: I’d like to permanently volunteer to be a dumpee anytime you need one. What would you dump on me… and is there a shower in your studio?

Meg: Most of the participants chose what they wanted to have dumped on them—as long as it was in the realm of being liquidy. A couple things I wish we would have done that day were fake blood (a la the movie “Carrie”) or goldfish & water.

And, yes, I have a shower.

I was planning on doing a 2nd round of Dumped, but ultimately decided against it (for now), for fear of being pigeonholed or too gimmicky. I also recently learned from a friend (who is a sex blogger) that these photos are huge in the fetish community of “sploshing.” This explains the incredible amount of traffic my website has been received and my having gone over my allotted bandwidth as of late. The internet is an incredible place…

Me: The thing that strikes me most about it is how absolutely happy everyone looks. What is it about capturing that moment of joyous shock that appeals to you?

Meg: The thing was that everyone asked me how he or she should react. I had no idea how everyone would respond and told them that I thought they just would react. I think the novelty of how random and unusual the whole ordeal was what contributed to the fun of it. The moment of reaction is what interested me, I suppose.

Me: In your series “Beautiful Decay” you document abandoned and dilapidated spaces. Like the title of the series hints toward, what is it about this decay that you find beautiful?

Meg: The abandoned school in question in this series had SO MUCH amazing furniture and books that were just left. It looked as if they had had a fire drill in the 80s and never came back. I was able to liberate 2 huge boxes of turn-of-the-century antique glass slides that are absolutely beautiful. (I’ve started scanning them and have attached a few of my favorites.)

It’s a battle between being appalled at how we, as Americans, lay things to waste and how disposable we view everything in our lives. On the flip side of this, it was amazing to see how quickly nature has taken over—and that is what I find beautiful. Another example of this is beautifully executed in the movie directed by Alfonso Cuarón, “Children of Men.”

Me: This is a pretty broad question, but I want to throw open the door and see what pops into your mind first. What inspires you?

Meg: Right now I am super inspired by the past. Right now I am reading a ton of historical fiction—specifically about Brooklyn (where I currently live) and Coney Island (which I’ve obsessively documented until it’s tragic demise this year.) I love the layers of this city and you can see it everywhere, but I am more interested right now in the actual stories behind the buildings, etc. I am planning on going to the NYC Department of Records soon to peruse their collection of Tax Photographs.

Me: If you could go anywhere in the world right now, without worrying about cost or family or personal commitments, where would it be and why?

Meg: Probably Japan. Because I’ve always had an interest in their pop culture and love the dichotomy of super modern versus super old in such a small amount of space.

Me: Aside from the work you’ve already done, if you could photograph any person or thing, past or present, real or imaginary, what would it be and why?

Meg: Björk. Hands down. I am inspired by her music as much as I am her collaborations with other musicians and artists alike. She seems completely open to the entire creative processes.

Me: If you could have anyone, living or dead, be a subject for “Dumped” who would it be and what would you dump on them?

Meg: Björk again. Because I’d love to photograph her anyway and because I think she’d do willingly do it. I’d probably dump some sort of sparkly paint on her…but I’d be more curious to see what she would suggest.


Me: Of all your work, do you have a favourite shot? If so, will you tell me what it is?

Meg: I have a favorite first shot. I must have been a junior in high school, with  a roll of tri-x, and my dad’s canon from the 70s. My best friend at the time, Andrew, and I were driving around a state park in my hometown (of Akron, Ohio) and got out to walk around a creek. I remember the instant of focusing on him as the clouds parted and that ray of light falling on him exactly. It was serendipitous and magical and could possibly be the moment I knew I wanted to do photography for the rest of my life.

All Images © Courtesy of Meg Wachter

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