| Errant behavior, retribution and eventual redemption define the ingenious photographs in David LaChapelle’s current exhibition. The artist explores with humor, irony and imagination a spectrum that spans from socio-economic satire to religious and political commentary. In the monumental piece Deluge, American culture symbolized by Las Vegas undergoes Biblical consequences for bad behavior. LaChapelle stresses the ephemeral quality of sacred institutions; the Catholic Church, art and even museums are vulnerable. |
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David LaChapelle – Mary Hrbacek
Errant behavior, retribution and eventual redemption define the ingenious photographs in David LaChapelle’s current exhibition. The artist explores with humor, irony and imagination a spectrum that spans from socio-economic satire to religious and political commentary. In the monumental piece Deluge, American culture symbolized by Las Vegas undergoes Biblical consequences for bad behavior. LaChapelle stresses the ephemeral quality of sacred institutions; the Catholic Church, art and even museums are vulnerable. The artist illustrates this notion in images of floodwaters rising in a chaotic cathedral scene, and in shots where waters rising in a museum reflect Old Master artworks. For LaChapelle, water is the substance that destroys earthly icons, cleansing our bodies and souls to make us ready for something more enduring.
Enthralling metaphysical images of ordinary individuals experiencing altered states of consciousness appear in the series “Awakening.” LaChapelle demonstrates his eye for details by focusing attention on a variety of unfashionable people of all ages and walks of life who appear submerged in diffused underwater light. The strange red lingerie worn by an older, oddly shaped lady is compelling. All these individuals have one thing in common; their vulnerable humanity. The artist creates images with blurred edges and sensitive views that radiate pathos and compassion. The subjects’ uniqueness is stressed, allowing their idiosyncrasies to shine through. By submerging figures in water, LaChapelle suggests a transcendent state of consciousness where one experiences spiritual rebirth. He elicits baptism, purgatory or the experience of being “born again.” The term “Awakening” hints at Nirvana, the Buddhist “Enlightenment.” One can at least surmise that the message here refers to some form of inner transformation.
LaChapelle details another spiritual trend in his monumental photograph, Deluge. This piece displays retribution in a popular Old Testament mode, the devastating flood. Here, a sinking section of the casino Caesar’s Palace suggests the Roman style decadence of contemporary Vegas. Sinking Starbucks and Burger King signs represent iconic symbols of global capitalism in tatters. Naked figures sprawl around and clutch at each other to stay afloat in this sexually alluring crowd of glowing, evenly tanned bodies. Nothing could appear more artificial, especially in contrast to the clothed, spiritually evolving individuals of the “Awakening” series.
The group of photos “Recollections of America” provides a sardonic look at families having fun by self-destructively obliterating themselves with alcohol. The political message is spelled out by the proliferation of rifles, hand grenades, flags and military signs at hotels, houses and barbecues where Bush beer is the beverage of choice. Destructiveness, in general, seems to rule. Generic party snacks like cheese swirls, potato chips and store-bought pretzels add a homely touch to the scenes where no sushi is in sight. The hilarious half-closed eyes of tipsy elderly relatives, paired with the slapstick antics of young men, create an intimate atmosphere where old, young and middle-aged imbibe together. LaChapelle infuses a sense of compassion into this complex group of works.
The series “The World Ends” continues the theme of destruction and redemption in images that display suburban homes destroyed by a wrecked plane. An enticingly dressed woman stands in each foreground, showing every sign of being fully alive and ready for new beginnings. The implication is that those new beginnings will be redemptive in nature.
On the whole, LaChapelle is keenly attuned to the undercurrents eddying within the stream of US cultural life today. He is pressing some vital points with a humorous touch devoid of condescension; the artist avoids patronizing his subjects; he discloses their all too vulnerable humanity with insightful compassion. The message may be that the ultimate resolution of our errant concerns will come with the discovery of a transcendent consciousness.
