About Sarah Meunier
Photographe / Paris
Janvier 2023 Massai Sara / Galerie Manjari&Partners / Paris
Janvier 2023 As you like it / Galerie Manjari&Partners / Paris
Janvier 2021 L'expo Schock !!! The Last fight / Galerie Manjari&Partners / Paris
September 2019 "Il était un fois dans l'Est " Montreuil / New York Cities / Montreuil
November 2018 La semaine de la photographie /Pavillions-sous-bois :
By Paul Tracy Danison
Sarah Meunier, also a neighbor – also a photographer of "street art" who works closely with the Lavo // MatiK “graffiti” gallery in the thirteenth arrondissement – has made “street portraits” of many of these, our mutual thems, our mutual neighbors, hors tableau, as they go about their lives. As if for study, an outsize proof sheet of her portraits was hung above the drinks table during the open house of La Fabrique Bagnolet arts center this past Fall.
Meunier has managed to pull forth a certain, almost Hollywoodian, glamor in the familiar, most-often anonymous, human beings whom I run across every day in the stairwell, on the street, at the market, in the stores, in the bus, in the metro: those who animate the thems we see in the Paris tableaus. reasons to love and esteem the people who make France and, above all, eight reasons to love our neighbors.
Sarah Meunier told me she only recently began doing these portraits, after long hesitation. Although she now says she enjoys the often tense interpersonal negotiation involved in doing a street portrait, getting one doesn’t really get easier with experience. “It’s tricky,” she says. “Taking a photo, it’s like getting into somebody’s private life – “
Sarah Meunier uses black and white for its “timelessness”; these are public records, after all.
Sarah Meunier can also shoot on the sly. She then goes to the subject and shows what she’s done – she says she gives the photo to all the people she takes. This fait accompli approach is difficult, she says, because, while it can capture the un-self-consciousness that so often reveals a human personality’s beauty, she has to “‘hose people down” with the camera if she wants to have a chance of capturing the expression or the look that really brings the person out.