122 0003 bang your friends, Filius de Lacroix, 2013 cafés here. This means that many of my pictures are based on everyday situations, but the people involved in them can’t be recognised directly, because in the end what remains is pure form. V: You use a special variation of the silhouette paper cutout technique that relies on the effect created by light and shadow. What should we imagine the development process of a Lacroix piece to be like? F: The term cutout is actually misleading in combination with my work, because I don’t simply cut out forms, I walk around with my camera and pick out specific situations. For more complex themes, I first sketch their mirrorreversed image on the back with a pencil. I always cut them out from the back though, because that creates nicer cut lines on the front, which you can see if you take a closer look. Afterwards, I mount the whole thing on a cardboard backing and affix it in certain places. Sometimes I’m also approached directly by people at some party who ask me to do a picture of them. Then I usually wait for them to get a bit tipsy before I ask them to accompany me to the restroom. You wouldn’t believe all the local in-scene names here in Vienna who have stripped for me. Of course I assure everyone, and I always keep that promise, that I’ll delete their photos as soon as the images are finished. This awareness of the evanescence of my material also intrigues me. I only work with untreated paper, which means that after some time it starts to turn yellow—just like people age and grow older too. I just find that a beautiful sight. V: What’s striking is how monochrome your pieces are. Is this owing to the specific material aesthetics of the paper you use, or is there another idea behind this “art of omission”?