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Miriam May

Light Cutting by Chandra Brooks.  Photographed by Miriam May.
Light Cutting by Chandra Brooks. Photographed by Miriam May.

I used to wonder how well my children know me, or if they’re even remotely giving enough mind to me to know anything about who I am?  At a time when I had very few friends in Berlin, my son came home insisting I come out with him immediately.  When I said I needed to get dressed in something more world worthy, he rebuffed that with, “she also won’t care how you dress”.  So we went on a 10 minute walk through the suburbs at the hour where normal people are arriving home in normal clothes, with me in an Egyptian dressing gown Cleopatra would’ve fought me for at the Mauer Markt flea market, where I’d bought it.  Leaves in my hair still from jogging at 4am and jumping into a pile of them afterwards to make leave angels, on top of mismatched stripped finger socks and kimono sandals.  We were nearly running he was so excited, which could have justified their double takes at me, had I not been looking like a calico Medusa wannabe.  When we arrived, she had been expecting me at some point in the future; not necessarily within the hour of conversing with Bela.  When he’d said he’d found me a photographer, he’d already done all the promotional work which included a complete professional overview of me as well as an in depth description of The Universal Fairytale.  All that was left for us to do was shake hands and say hello.

I can be vague.  I’m fairly internal so I expect that everyone’s heard the conversation in my head a hundred times. When I handed the work over to Miriam, whatever I said could only have been cryptic.  No doubt I was still in the clothes she’d met me in.  What she did was a total and complete shock.  She wasn’t thrilled by it and I was kind of disappointed initially.  I slept on it, as all princesses and kings need to do in real fairytales.  I fell madly in love with these when I opened my eyes to them again and saw my work in a light I’d never known.  I’d always imagined the shadows being cast in 3-D, but I was shocked when I finally saw what it could mean.  The next big shock was what happened when I began collaging these images and working with them digitally to create emotional effects and characters.