Photographer, Rohn Meijer, breathes new life into his old negatives by nearly destroying them.

Rohn: “Sometimes I find that nothing is left because they’ve disintegrated, and sometimes I’m pleasantly surprised,” he tells Wired. “What I’m looking for is the way that colors play out, sometimes a bleeding effect, other times more harsh effects. It’s a different kind of developing I’m doing, it’s not done in a laboratory.”

Rohn Meijer was born in Amsterdam, grown up in Los Angeles and now lives and works in Milan.

After his education at the famous Rietveld Academy back in the Netherlands he collaborated with Mario Bellini, Ambroggio Pozzi and Joe Colombo.

Shortly after he started his career as professional fashion photographer and started working in Milan for Franco Moschino, Versace, Neil Barrett, Phillip Plein, Diesel Black Gold and Les Hommes. For years he has been the house photographer for Dsquared.

In addition, traveling extensively for “personal research”, a passion was born, that of photographing people of other places and cultures.

His widely acclaimed series Dreamgirls includes the image “Linda Evangelista ‘91”, a powerful, memorable profile shot of the titular model. It is the exquisite combination of light, colour, and focus that makes Meijer’s Dreamgirls so unique. These pieces embody the artist’s distinctive approach and stand out instantly from the mass of fashion and celebrity shots, from Cindy Crawford to Kate Moss to Carla Bruni to Linda Evangelista to Christy Turlington to Helena Christensen to Claudia Schiffer to Naomi Campbell.


His work is exhibited in Europe and the United States and has been published in many magazines and photo books.

By Aline Smithson (September 28, 2013) written by Claudio Composti, translation by Simon Patterson.

A new life, which has transformed also the subjects who were once the soul of these photographs: the bodies of young men, faces of beautiful women, now transfigured by corrosion to create a visual “short circuit” and giving the image an almost mystical sense of memory and discovery. This is a relic of a world which once was and which now can live again only through these discoveries rescued from the flux of Time. And yet, Meijer’s is not a destructive action. While the painter seeks to “save” from decay at least the memory of the objects represented on the canvas, Rohn Meijer, using a physical paradox, inverts this rescue attempt in the very destruction (albeit controlled) of the film and, by extension, the objects portrayed. Metamorphosis always involves a radical change in the form and the aspect of an object, and that of Rohn Meijer is a process of continuing, “becoming” (“…Nothing is destroyed, everything is transformed”). It is the transformed origin which generates new life from its own mutation, and in this way it produces its own hymn to Life.

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