The pictures of Raymond Meeks (Columbia, Ohio, 1963) are extensions of his life and
family. He makes images that last through their sheer sincerity. Delicate, personal and a touching beauty. Meeks knows how to tell a universally appealing story with what is happening in the immediate vicinity. Therefore no long trips are necessary or important social themes. At home, behind the kitchen, are eight cameras within reach. Which provide a variety of lenses, color and image formats. That broad pallet of techniques and means of expression give his pictures a fascinating urgency. Like the first, the best camera took up not to miss the moment. Meeks' pictures are carefully composed and beautiful, but have at the same time directs something, something of extreme urgency. His sense of wonder is unmistakable. Meeks uses its own neighborhood and family as a metaphor; places and people who are familiar to him and which he has developed a rapport.

Raymond Meeks belongs to a new and exciting generation of American photographers who sees with fresh eyes the US Midwest and combines a good eye for its rich history with the desire to tell stories about the society in our current uncertain juncture.
This produces images that are certainly not provincial, but still not great. Intimate and distant at the same time. Meeks' work in the tradition of Robert Adams and aligned with that of John Gossage, Alec Soth and Mark Steinmetz.

Meeks' photographs are poetic, idyllic and shamelessly romantic. But it is a hard, functional romance. They are nostalgic images, but it is not an easy, comfortable nostalgia. They applaud a time when the city center was a safe, friendly place and work for the taking. The American dream. Liberty and the pursuit of happiness for all. We now know how that ended.

Since 2000, Raymond Meeks has published twenty books, including twelve in-house. They are coveted collectibles,