Studies for a Still Life in Red Green and Blue
February 19 | Friday | 6:00–9:00 pm
February 20 | Saturday | 11:00 am–6:00 pm
24-20 Jackson Avenue, 3rd Floor – Long Island City
Pierre Le Hors is presenting his work in the 3rd ICP-Bard MFA thesis solo show from the class of 2010. His show, entitled Studies for a Still Life in Red Green and Blue (Shine On), is opening tonight at our Long Island City studio space. It features colorful reflections and refractions using mirrors, projected images, and a still life installation. Le Hors also published zines, a compilation of photographs printed on news print, that are free for the taking. I talked with him about his presentation choices:
Hernease: It would be nice to get an idea of your relationship with photography and its effect on the development of your show
Pierre: Well basically it has been a very long process to get to what you saw today, I guess it started in earnest at some point in the fall. I went through a lot of different ideas, strategies for display of images…but first of all I knew from the very beginning that i did not want the show to be a kind of 2-year “retrospective” of the stuff I had done in grad school, like a kind of “best of” or something like that…so I thought that it would be a lot more exciting to just make the whole thing one work, like a self-contained work made up of several pieces meant to work together.
Clearly his process was a personal one, and he certainly took the viewer experience into account as well. So, from the perspective of a viewer coming to see a thesis show of a graduate from a photography program, I asked an obvious question:
Hernease: I was wondering if you had considered hanging any tangible prints. They are noticeably absent, except in your zine.
Pierre: Right. Books and prints are very different for me. I just feel that at this point in time, prints have nothing to do with how we experience photographs. Except for those rare occasions when we encounter photos in a gallery or museum or an artist’s studio. Very few other places do we encounter an inkjet print on a wall. I think photos now tend to live either on the printed page in book form, or on a backlit screen, or on a billboard or shop display.
Hernease: Okay. So, you wanted these particular photographs [in your zine] to “live”?
Pierre: Well, to put in another way, I don’t want the pictures to be rarefied as precious things to be treated carefully and preserved, that means nothing to me in my life. I’d rather them be experienced as I experience photographs, which is mostly as flickering images, even “throw-away” images…I look at photos on the internet most of the time, you know?
Hernease: Yeah. That makes sense. Well, once you decided to not present images as formal prints, how was it dealing with the gallery space?
Pierre: Then I really started treating it as an immersive environment… I used my body for scale reference, so I thought about how the images work once they are my size, larger than me, and smaller so that i have to stoop or kneel to see them. Also, being able to move around the space became very important –the projections on mirrors really change depending on where you are in relation to them,
Hernease: Finally, I want to know how you have changed in your work. It’s a big question, but, if you could sum it up in a way that would be helpful in seeing a progression for someone who isn’t familiar with your earlier work.