The Cedar Lodge
The Cedar Lodge is the first photobook by photographer Maya Meissner, which tells the story of her family’s close-encounter with the Yosemite Killer in the late 1990’s. The project is composed of collages, photos taken as a teenager, altered family snapshots, and photographs made in and around the hotel where it all happened. Meissner investigates her discomfort, grief, confusion, and separation from the twist of fate through these varied perspectives.
For Meissner’s project installation she elected to use the deck out back of the main gallery space, built in 2017 for another installation. On the opening evening her work was accompanied by sound remixed news clips from the time of the Cedar Lodge killings, facilitated by Mink Floyd, a fellow Marfa Open artist. Her work was given spotlight through the use of wheat paste, clip lights, raw lumber, and the radial vacancy of the lot surrounding.
view her site here:
“Growing up in Northern California with horticulturalist parents, Yosemite National Park was my family’s Mecca, and in September of 1998 we took our first pilgrimage there. We stayed at the Cedar Lodge, a roadside motel. I returned to the park years later as a teenager pursuing my love of photography, excited to channel Ansel Adams and the other greats who came before me, in the birthplace of landscape photography. It’s hard for me to comprehend human horrors in Yosemite, one of the most majestic natural places on this planet.
In 2014, my mom revealed that during our idyllic childhood vacation a man tried to break into our motel room in the middle of the night. My dad scared him away by yelling; my sister and I slept through the whole thing. Five months after our trip, four women were brutally murdered in Yosemite. Three of the women, a mother and two teenage girls, had disappeared from the Cedar Lodge. The confessed killer was the handyman there.
My mom didn't have the tools to process this encounter and the twist of fate that spared our family, and so the guilt and grief festered within her for fifteen years. Learning that four women were killed in a place I considered paradise was confounding, but that I could have been one of them wasn’t something I could shake off or even really understand. I just knew I couldn’t keep these feelings building within me, like my mom had. My tool for delving into myself has always been my art.
Through research and the gathering of images, I began to lay out the disjointed narratives that crossed paths at the Cedar Lodge. To understand and illustrate my place within, or rather alongside the tragedy, my connection and my disconnect, I made collages: fracturing, obscuring, and layering images that included the photos that my parents had taken in 1998 and my teenage landscapes. I approached the project from varying perspectives because of my own confusion, but also to illustrate that this wasn’t really my story. This is not my trauma; we survived. The trauma I saw my mom go through does not compare to that of the families who lost their sisters, daughters, mothers.
To complete this project, I returned to The Cedar Lodge. I studied it closely and made new images of it. It’s terrifying to come so close to a nightmare, but I found that as I put it on paper where I could see it, the history of the place became less of a threat. Yosemite and the Cedar Lodge became beautiful again.”