By Ciara LaVelle
By Jose D. Duran
By Kat Bein
By Juan Barquin
By Ciara LaVelle
By George Martinez
By Kat Bein
By Ciara LaVelle
Despite the glint of a diamond stud in his ear, Steve Meeks emits a whiff of Sergeant Rock as he pulls on a fat cheroot outside his Borders mega-framing shop in Little Havana.
The Kentucky native moved his family-run operation, which caters largely to the artist, collector, and museum trade, to the old La Tijera building at SW 16th Avenue and First Street eight years ago, after more than a decade in the Gables.
Today neighbors tell Meeks their families used to shop in his space when it was La Tijera five-and-dime. During the Sixties and Seventies, many Cuban tailors, barbers, seamstresses, and manicurists kibitzed about toppling Castro while having their scissors sharpened there.
Meeks, an unassuming old dogface, recalls undergoing Special Forces training during the Cuban Missile Crisis. "At the time, I was sent to Fort Bragg, which got me out of the classroom and into jumping out of helicopters. That was a hell of a kick," he says with a laugh.
An early-Eighties Miami transplant, Meeks feels strong ties to local history: the cocaine cowboys, the riots, the waves of immigration, the city's identity spasms. "I've seen it all," he says.
Flicking his stogy butt to the gutter, he waves a paw around while musing on the virtues of his Little Havana hood. "I love it here — people are friendly, working-class — and the rent in the Gables was killing us."
The 65-year-old former commando opened the Miami Center for Photographic Arts (MCPA) in the back of his sprawling shop 18 months ago. Since then, the gallery has quietly organized more than a dozen photography shows.
At the entrance to Borders, an oldfangled coin-operated photo booth telegraphs Meeks's love for the media. Inside the shop is a state-of-the-art darkroom that local shutterbugs can rent by the hour to hone their craft.
His modest MCPA space is currently exhibiting "The New Masters," a group show featuring the work of locals Robert Davila, Lamia Endara, Marina Font, Angela Christine Helwig, Erin Holzman, and Miriam Sredni. They are all recent MFA grads from South Florida colleges.
Helwig's series of untitled, gutted books, which house playing-card-size silver gelatin prints, was originally exhibited as part of Novel Antiquities, her March 2006 thesis project at Barry University. The photographer used a medium-format film camera (Pentax 67II) to produce pallid snaps that appear weathered by age. Adding to her work's fleeting time complexion are green-and-red bound books, which boast covers emblazoned with a pair of griffins holding a torch aloft. The antique tomes were published by New York's Walter J. Black Company in the 1920s.
Her lyrical, staged still lifes are tiny gems. Within The Collected Works of Chekov, one glimpses a pear and a dove in ornate gilded picture frames. These images reappear throughout her work. A Cellini tome bears a lone walnut in a wooden box, and a Flaubert volume hugs an ancient Royal typewriter and a trio of sewing spools. The combination of the books and photos heightens the quaint past-century patina of the pieces while remaining enigmatic and coy.
Another artist who successfully toys with mixed media and photography is Font. There is a sense of suffering and spiritual transcendence in her gelatin-silver print, beeswax, nail, fabric, acrylic, and wood assemblages, which are the most ambitious works in the show.
In Escalera, a ladder extends from the bottom of a flaglike plywood surface into an empty space above. Next to it is the photographic profile of a woman, whose head is clean-shaven; her eyes blissfully follow the ladder's rungs heavenward. The woman's image is echoed by several cutouts as if she were praying in waves, the blacked-out expanse behind her evoking a daunting trial.
Font took the photos of the woman, a friend who survived breast cancer, three years ago, and she appears in many of the artist's arresting pieces here.
Legado depicts the woman, with a wisp of white fabric draped over her shoulder, from behind in a photo taken during the stages of chemotherapy. From the wooden-framed image of the woman extends a length of the fabric, which pools on the floor like a discarded shroud.
Equally dramatic is a Plexiglas-encased piece on a nearby column. In it a crate full of eggs is pierced by nails whose sharp ends stab upward at the spectator. Upon closer inspection, one can see that several of the eggs are cracked. Inside are nude images of the cancer patient, curled up in a fetal ball. They are suspended in beeswax.
Ambivalente, one of Font's larger pieces, is curtained over in black burlap strips. Observing her work, one comes away with a sense of the artist's creative process, how she tills the furrow of ideas, cutting and pasting thoughts and following through. In this work, Font has placed a small image of her chum in the upper right corner, like a postage stamp on a loaded envelope, to deliver a message. It is the only one of Font's pieces in which the woman looks out at the viewer with a smile smacking of deliverance. Underneath the woman's hopeful visage, though, Font has shiftily placed a sealed box, tied off with flowing white string. The artist seems to hint that inside us all, true meaning is confined.