Sam (God Hates Borders, Loves Gay Porn) a CMYK screen print from Turner's tintype plates.
24X28" ink on paper
Signed & numbered, Edition of 5.
Meg Turner has been photographing the intricacies and vulnerabilities of her closest friends through the lens of a camera for years. Her strong, arresting photos empower her subjects while simultaneously reconstructing symbols of power, gender, sex, and overconsumption that have been subconsciously and universally ingrained in our minds.
“I invite my colleagues to reimagine the symbols of power, sex, gender, and wealth often used in advertising to seduce us into cycles of consumption and labor,” Turner told me. “We use those same symbols in a style I refer to as ‘queer maximalism,’ celebrating rest, fantasy, and relaxation.” Turner has a knack for representing historically marginalized bodies while simultaneously challenging power structures. “While not everyone I photograph is queer, I often work with friends whose bodies have historically been marginalized and photographed without being able to control the lens or the narrative— so flipping that power dynamic is an important part of any shoot.”
Turner complements this flipping of the power dynamic with a sense of magic that lies within the unique format of her photography: tintype. This style is created by capturing a direct positive on a delicate sheet of metal that’s covered with a dark lacquer and used as the backing for emulsion. Tintypes gained popularity in the 1860s, and while they’re best known as a photographic medium of the past, Turner’s works are not what you’d consider “idealized nostalgia.” Rather, it’s a form of self-expression, an additional method of reformatting the lens through which her photography is viewed.