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July 20, 2007
Faces look out at the world
Meyers photo exhibit inspires a sense of humanity – not pity.
OLGA LIVSHIN
Photographer Gerry Meyers is a walking contradiction, defying definitions
and common perceptions. The trait starts with his appearance, follows
his life's path and permeates his art. Meyers's exhibition Faces,
at the Sidney and Gertrude Zack Gallery, emphasizes his non-conformism.
There are two commonly accepted images of professional photographers.
One is a feminine creature in a flowery scarf, clicking like mad
at his models, drawling, "Da-a-arling!" Another is a tough,
bearded guy, hung with photo equipment and wearing military-style
khaki. Meyers fits neither of these molds. He is a modest-looking
fellow, dressed nondescriptively, with longish hair. Like many men,
he doesn't think much about his exterior, but his motorcycle, a
Harley Davidson, shines like a brand new mirror. There's not a spot
on any of the gleaming chrome details. "It's 12 years old,"
Meyers said, proudly. No doubt his Leica, his camera of choice,
is in the same pristine condition as his bike.
Meyers has had an interest in black and white photography since
high school, but he has never made a living as a professional photographer.
As a young man in Winnipeg, he sold women's clothing. In the 1970s,
he moved to Vancouver and took a variety of jobs for airlines, none
connected to photography. But working for airlines allowed him to
travel cheaply, often to developing countries. Everywhere he flew,
everywhere he lived, Meyers took pictures, constantly sharpening
his insights as a photojournalist, honing his skills and techniques.
During his frequent trips, he discovered the subject that would
stay with him for years – children and the elderly in Third
World countries.
"The old people have so much character," said Meyers.
"And the youngsters are opening up much better than anyone
else." He also explained his fondness for black and white,
which, he said, "shows more emotion. [There's] no distraction
of colors. Besides, black and white leaves room for the viewer's
imagination."
Last year, Meyers retired, but having worked hard all his life,
he soon got bored. True to his nature, he took another job –
in the spare parts department of a Harley Davidson shop. And he
continues his travelling and his shooting. He is planning a trip
to India, his favorite country. "The people are so friendly
there," he said, "and the photo opportunities are fantastic!"
Although Meyers has been shooting photographs for decades, he only
started exhibiting his pictures about 10 years ago, at the instigation
of one of his photographer friends. Since then, he has had numerous
exhibitions not only in Canada, but also in the United States, Germany
and Belgium. His photos have appeared in magazines and were used
in several television series. He also participated in the making
of two documentaries: Women on Patrol, filmed in East Timor
for the National Film Board of Canada, and Innocence under Siege,
filmed in Sierra Leone. The latter was shot in the middle of a war
zone, complete with a curfew, armed men on every roof and exploding
helicopters.
Everywhere he shoots, be it a dangerous African country, torn by
rebellious armies, or a peaceful town in the middle of Europe, Meyers
captures in his viewfinder the images of life and hope. Contrary
to the accepted trend of presenting developing countries as places
ridden with disease and devastation, Meyers shows life that persists
everywhere. Poverty doesn't dominate his pictures, shimmering only
in the background. He looks for personalities, not ragged clothing.
As a result, his pictures never inspire pity, like so many other
photos from Asia and Africa.
"I befriend the people I shoot," he said. "I follow
them, look for their essence. Once I spent half a day observing
a flower girl before I zoomed [in] on the best shot."
The children in Meyers' pictures are like those around us. The faces
in the photos are full of expectation and mischief. Some are serious,
even grim. Others are roguish or sly.
In a place of honor in front of the Zack Gallery's entrance hangs
a picture of a girl dressed in her Sunday school best. She is so
beautiful, she seems unreal: a painting, rather than a photograph.
A little boy behind a bamboo stalk is obviously daydreaming. In
another photograph, a girl sells her fish at a market, her one small
breast bare, in the tradition of her people. Still another picture
shows a flock of half-naked boys, goofing around an old broken car.
The boys seem fascinated by the machinery, like so many young males
all over the world. The future faces of Africa and Asia – proud,
not pathetic – look at us from these photographs.
Faces runs at the Zack Gallery until Aug. 22.
Olga Livshin is a Vancouver freelance writer.
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