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


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”?

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