Her work deals with the shifting nature of perception, narrative and memory. She is clear that she shouldn’t be described as a story-teller, but rather as a recorder of the shifting nature of how we perceive both narrative and memory, exploring ways to do this in visual terms.
As Sally explains, ‘ I am not interested in telling stories with my work, so I suppose the work I make is not strictly narrative, it describes suggestions, traces, and expressions of possibilities for a variety of stories and events. Having said that, I do often make work in a kind of series – linking pieces, fragments of something growing and changing’.
On the subject of what her work means she is a little equivocal.
‘ On one hand I am aware that some of us want an explanation, some kind of meaning given, but I like to leave a space open for a variety of interpretations – making it more interesting for the viewer and retaining a little mystery. However, I do title my work with care to offer a way into it.’
The materials Meakins chooses to work with are relevant to understanding the meaning of her work. For instance, in the ‘Inverse Reflection’ show there are some small delicate three dimensional pieces made from lead which is a heavy, toxic substance that is also quite fragile. One of those pieces is entitled
‘Envy’ consisting of lead wings nailed to the back of a box, trapped under glass like a collectors specimen.
Sally explains, ‘ For me, envy is one of the most destructive human emotions. It not only destroys the victim but also the person who feels the need to play it out’.
As far as her work being autobiographical or personal to her life , she says not, ‘ the work I make is not about me. It is not directly about my life. It does, however, often reflect the way I feel and think about things and the subjects that inform my practice and that is constantly subject to change ‘.