Meredith Miller
Portraits are always the record of a negotiation between subject and artist, the history of a relationship, even in the brief encounter on the street. But the quick study that a photograph can be, without the long staging of a studio sitting, is always more chancy a matter. It is clear in the convincing and moving revelations of these recent works by Meredith Miller that she has succeeded against the odds.
Courtesy of the artist
Meredith Miller, Chambersburg Portrait, 2011, Archival inkjet print.
The first surprise for me upon seeing them was that I had known Miller’s work previously only through a series of domestic interiors; rooms without human presence, though not empty because filled with the shapes of sunshine. She obviously had that same friendship with light that Jerome Liebling had in his pictures of home and street.
Courtesy of the artist
Meredith Miller, Chambersburg Portrait, 2011, Archival inkjet print.
But here she also shows Liebling’s compassion for the faces that came to him. Miller’s subjects are entirely at their ease, posing but not preening, self-aware but not self-conscious. They mirror the photographer’s generosity in the way which they offer themselves to her camera.
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