I read recently, “the second half of life is just picking up the tab for the pleasures of the first.” And if this is truth then I’ll be damned if I don’t wrack the bill as high as it can go. There will come time when we look back on all of this. And I for one want to see images and feel sensations that make me think I didn’t waste any of this health, beauty, youth and energy. I need certain landscapes and motel rooms and breathless moments with other humans to bubble up and play back before me. I want to be proud of the series of people I have been.
If you think of your life as a short reel film what would appear?
When I first saw Kids On The Run I was struck by the notion of two artists, humans, lovers, creating an in-life highlight reel of just being alive. It pushes on spaces in me I didn’t even know were there. I see more than road trip, more than a series of photoshoot’s, more than an Instagram campaign. I see an honest attempt to capture love and space in a simple and rare way that makes me really excited about being alive.
Melodi Meadows is a muse and painter, her counterpart Asher Moss is a musician and photographer. More often than not he is capturing Meadows as she bends and twists in front of his lens. They seem to feed one another. The two are this rare breed of people that turn everything they touch into something you want to stare at. I cannot pinpoint exactly why, I think it has something to do with her eyes, but their union feels otherworldly. It is as if these two came to our planet to teach us all a little bit about love and living in our truest form.
Kids On The Run tells the story of this pair of lovers as they travel from Texas to California. They stop in some of the most desolate and picturesque places in the southwest. They worked tirelessly to capture every footfall along the way. The film oscillates between extremely intimate moments and high-speed euphoria. Of all the frames and photographs the most enchanting images are the stills of their secret elopement in the badlands of New Mexico and the footage of Meadows painting in the desert – they feel raw and real like the truest version you could witness of someone else in the third person. On film the two light each other up and it is intoxicating and magnetic, and inspiring to witness.