Icarus

 

Interview with Alex Lambrechts

 

Your look is off-mainstream. In what way does Icarus reflect this and in what way does the spread represent a probably different way of approaching photography? What are your principles here?

I would say I’m exploring various techniques to increase ‘Connectivity’. Of utmost importance for me, is that my work connects with the viewer, their subconscious, their memories and their feelings, more so than their analytical mind… I’m wanting to pull at strings beneath the obvious, forcing them to engage with their own feelings and expectations, based on their own life experiences and emotions… With this approach of not using clean, sharp and bright imagery, I’m hoping the viewer will fill in the blanks, the blurs and darkness I intentionally create, this way my style is connecting in a more visceral way, well that’s my hope…

Icarus- Sins of the Father, is inspired by the Greek Mythological story of Icarus + Daedalus… I’m particularly fascinated by the many ironies surrounding Icarus’ imprisonment, escape and death, despite his fathers best intentions. Sins of the father, is a self reflective story, of internal questioning for me, there are many obvious, and less obvious subtexts imbedded within the scenes, it’s all very subtle… 

It is of course also a fashion story, in this instance I intentionally chose Hermés fashion, for the mythological namesake, but also because I’m a big admirer of the brand, and wanted something I could include in a subtle way, in a very different way than how many other photographers may have chosen to shoot it (all clothes, bags, shoes, jewellery and accessories are from the latest collections of Hermés Paris) 

Icarus is played by Jan Wermelinger, a Champion Swiss Cliff Diver, Hermés the messenger + trickster is portrayed by the two boys, and you will also notice, the river nymphs…

Would you say that your approach contradicts expectations from potential customers? However, you are working for big names like Bulgari, Karl Lagerfeld for example. Would you say you are booked because being different?

Fortunately, my clients are booking me precisely for my unique vision and messaging… I choose who I work with, as much as they choose me, we both have to have a similar intention when collaborating, I made the decision to develop my art in my own style many years ago, intentionally, in order to be approached by clients who are wanting something special, where they can also stand out in the vast sea of communication channels, having said that, now in my career, I’d rather stop working as a photographer if I had to shoot in a mainstream style… I’ve no appetite for it all.

When looking at your work, it emits an analogue touch. What is that about?

The use of various analogue techniques and media, has been a natural evolution of my craft, where I’ve trialed and tested new formats, mediums and photographic techniques all along. This particular shoot was captured exclusively using a mix of alternative analogue elements, such as redscale processes, using motion film stock and a variety of my own techniques with respect to light, exposure, capture, development, scanning, equipment and post process. 

For the most part, the treatments you see here, are not the result of digital image manipulations or Photoshop, rather, the unique look and feel is an intentionally executed composition of planning, chemistry, physics, art, timing, sweat and chaos. 

The look is not only intended to be visually beautiful, but always used to reinforce my messaging, (the two must be in harmony and compliment the intent) feeling and control. It is of great importance to me that my final images retain much of the unique analogue structure of the film stocks, and the unique artefacts created by the combination of equipment and chemicals I use, to control and shape as much as possible prior, during and after the exposure, then during development, but not to mess too much at all digitally after the fact. I truly dislike digital manipulations, and avoid them where possible.

You recently also moved into film. Why is that and in what way is your work on film an extension of your photography?

I opened my purview to the analogue motion formats 8mm + 16mm because I felt, I could connect in a different way through this medium, it’s completely different in essence, but also, I think most people aren’t pushing the possibilities enough in terms of the limitations, but also in terms of the advantages… (this was an opportunity) I love how easy it is to engage on a deeper level, whilst further establishing an auteur-ship by bringing, some of my stills techniques, as well as some interesting new ones, unique to this medium, such as step-printing, (I love step printing)… The film stocks available, combined with various exposure and processing craft, give so many possible tools for messaging, again on a truly deeper, hard to escape level, and I love that… one can manipulate the sense of time in a powerful way in motion pictures, which is something I use a lot.

Looking at your bio one notices that your way into photography has not been straight at all and quite divers. You do have a heavy martial arts background, and been active in close personal protection work. On the other hand you have been work as a Creative/Marketing director for B.A.T. and others. Why did you move into photography? What had been the most important turning points that brought you to the point you are now?

Hmm… I actually grew up hanging out in, and later (as a teenager) working in my parent’s photo-labs in Sydney, my mother was a master printer, so I guess it was probably inevitable, having said that, the thought of getting into photography and not being exceptional at it terrified me, I’m not good at doing things in half measures, I believe, if we do something we must do it to the best of our potential… 

I was all in on my martial arts for many years, and later personal protection, however, when a chance opportunity to work in a creative agency came along, the timing was right, I jumped in and loved it. This was a serious step into the world of campaign creation, direction and production (as well as design and other elements) which would give me a certain insight into fashion and advertising photography and image creation… i then went on to bars and hospitality, management, ownership, marketing… I could go on and on…. Whilst I firmly agree, every experience moulds our intentions, I also know,  that if I were to continue each step which led me here, I’d soon fill some very long pages… Think I’d prefer to focus on the current and future… 

And where will you go next? What does your participation in the Artist in Residence’ program at The ’Museo Civico Villa dei Cedri’ in Belinzona, Ticino mean in this context? 

This work Icarus - ‘Sins of the Father’ is also part of a larger project I’m creating for an upcoming exhibition at the «Museo Villa Dei Cedri» in Bellinzona. I recently commenced an artists in residence program where I have been spending, and will continue to spend some of my summers for the next couple years. 

This project is challenging me to think differently, focussing more internally, in an even more expressive, artistic direction, than previously, which is in some ways, in contrast to my more commercial fashion or lifestyle work, where I’m often more constrained to deliver a specific brand or product message. It’s exciting to combine the two mindsets and approaches. I think it is certainly helping me to develop further as an art photographer, and as an artist. I love that when creating entirely for ‘myself’ I can be more honest, but also with this comes a different kind of pressure, I’m definitely harder on myself in this format, sometimes its hard to forge forward, specially when my ideas kill themselves at an alarming rate, I’m learning, to trust the process, and work without the same time limits we have in commercial and commissioned projects, it’s a very different approach, you have to trust yourself…