Meyer cultivates the conviction that the photographic act is not made to observe the world, but to construct it.
Meyer cultivates the conviction that the photographic act is not made to observe the world, but to construct it.
With "Putain de maïeutique camarguaise!", he is interested in the bullfighting culture of the race, the reverse angles of the game, and the existential silence that arises in the ritual of the spectacle.
With "Mon frère Lumière," he captures the unlikely encounter between African cinema and its audience. This work conveys what is essential to Meyer: magic is what is accomplished between the gaze and the image.
With "Portraits décalés", he begins to practice photomontage. The relationship between characters and backgrounds, sometimes a landscape taken thousands of kilometers away, produces its own poetry. Superimposing, multiplying, Meyer returns with this principle to the delicate terrain of bullfighting, ("L'Abyme et le Vent") and to that of Polo ("Polosuperpose").
Meyer is a member of the Tendance Floue collective.
Permanent collection of the Charleroi Photography Museum. Special Jury Prize, Paris Match, 2002. 3rd Prize for World Press Arts and Entertainment, 2006.
