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My photography — architectural vistas and details, cinematic and erotic self-portraiture, and beyond — continues an exploration I began as a literary-historical scholar: an exploration of the relationship between the physical structures we build, the culture we weave, and the selves we construct within the physical and cultural spaces through which we move. At times this exploration takes on the cloak of the documentary; at others it masks itself in the entirely fictive but still recognizably photographic, seeking the fictive construct within the real. In locating and tracing the shape of moments of sublimity, both large-scale and intimate, intended and unintended, I seek to illuminate the equivalent possibilities of the conscious construction of self — of a personal sublime — and of an erotics of the built world. Or at least to make you look up.

I currently shoot primarily digital images but retain a nostalgia for film and the smells of the darkroom. Although I respect and strive for the skill of control that can capture a final desired image at the shutter's click, I learned in that darkroom that light is not the only material for photography: there is the camera itself, and the initial image created in capturing that light is also material for transformation. Today I exercise that understanding in digital form, carefully choosing when I will let the process show and when I won't.


Looking for more? Try Brittney Bush's interview with me, on Utata.org:  10 Things About Lú — or Sina Queryas's In Conversation With Stephanie Fysh