Elad Lassry Quotes
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I used to refer to my photos as free radicals - and maybe that has to do with this idea of navigating history. I think of the works as having this dormant illness that can really latch on to different histories. So they can exist in a world pretending to be neatly encapsulated, already framed, and fixed. But actually they are these parasites dependent on the failure of modernist history and on multiplicity.
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I have too much respect for ballet to dare practice it. I did ask ballerina Megan LeCrone to teach me jetés. She said that was impossible but did observe that I have great feet.
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I think there's a general confusion that my work is about types of photography. But really that's just a tool to introduce some questions I have about seeing. What happens when all of these conditions and structures and histories and cultures and tools you have around you begin to fail? On the one hand there is an engagement with histories and cultures, and on the other, there is this very lonesome space of actually coming to terms with seeing.
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Since I switched to an iPhone, I did start taking pictures of people I like. Until then, I strangely never took pictures. I think the iPhone became this space that was different enough from a "photograph," so I find myself taking pictures of daily things. If someone I dated asked me to take their picture, I would most likely find it disturbing. Perhaps nude pictures would be fun. But that would have to be on an iPhone.
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When I was starting out, conceptual photography had become something that had to be amateur - like, that had to be black-and-white, or photocopied, or really not an object in order to be taken seriously. It had to work against technical mastery, and so on. So I think that my work is full of obstacles in the sense that it does look highly familiar and accessible. It does look like it's already "solved at first sight." It does look like it's part of a larger industry.
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Instagram is not an option for me. I have an Instagram - like relationship with a few people, some of whom I've only met once. We e-mail each other a picture every week. But I cannot deal with posting it. It's a very personal message for me.
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What I found interesting in dance is the idea that my work has always been dealing with the nervousness between the human subject as a subject and the human subject as a form. And if you look at my dance films, there are always these cuts between the dancer as a form, the dancer as a subject, and this kind of very harsh treatment of the dancer as someone who's actually drawing with their body.
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