A hideway for dreams of love and desire
... an internatinal sensation from TASCHEN! Excerpts from Eric Kroll's interview with Chas Ray Krider
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Technically since he is shooting under low light conditions, the exposures are long and therefore the models must hold very still, which contributes to the frozen moment. Beautiful women as still life.
CRK: "A curious thing that happens going through the process is if I don't tell them anything or try and make them project, they start to come down to what I call their lowest level, personality wise. Pretty soon they're not projecting who they were, and that's the moment I really like."
EK: "Does that give them personality or take away their personality?"
CRK: "It neutralizes it. It creates an ambiguous quality for the viewer. It's that psychological and sexual tension that a lot of people will pick up on when they see my work. The body language and demeanor of the model. She doesn't really seem to be really giving it, so it's a question-who is she? What? What? What? People will say my work looks like still photographs lifted from a movie of impending action or action that has just happened. That de Chirico or that Edward Hopperesque stillness and isolation which is maybe a greater reflection of my being here (in Columbus, Ohio) in this environment. That I am alienated and isolated."
I asked about the few photos that show a disembodied man's legs or hands near a woman.
CRK: "Many viewers think that the women are in the motel room alone, doing it with no motivation. They can't figure out that there is obviously another person in the room sharing that moment. Is it the invisible photographer asking the model to do private things made public or you, the viewer, sharing this private moment with this woman?"
Krider produces another "hobby" of work. It is a series of imaginary pulp fiction covers that Chas entitles "Faux Fiction." They are images he has taken and then added titles and remarks to. I'm looking at photographs of various models he's shot and I ask him where a particularly striking brunette model came from. I'm looking at a photo of a woman dressed only in underwear.
EK: "This is a panty masterpiece."
CRK: "It is a panty masterpiece. Here is the routine. I don't have an idea in my head. I don't know what I'm going to do. This woman is coming over. All that I want is a little hock to hang the photo shoot on. So I go down to K-Mart and I get a six pack of panties. When she gets here, what I'm going to tell her is to change her panties periodically so, throughout the routine, it goes from flowered to pink to blue. Just keep it moving."
EK: "When you started photographing women in this manner you did more girls in stockings...."
CRK: "Yeah. In the beginning it was all stockings and girdles and high heels that really attracted me and then in the process I discovered sheer panties that seemed to be more interesting to me. I like this veiling. This seeing and not seeing. It gives the models a little sense of dignity or modesty. And I'm more into bare-leggedness. Maybe I'm getting lazy and I don't want to style and dress them up."
Page 1 2 3 4 5
Page 1 2 3 4 5
Technically since he is shooting under low light conditions, the exposures are long and therefore the models must hold very still, which contributes to the frozen moment. Beautiful women as still life.
CRK: "A curious thing that happens going through the process is if I don't tell them anything or try and make them project, they start to come down to what I call their lowest level, personality wise. Pretty soon they're not projecting who they were, and that's the moment I really like."
EK: "Does that give them personality or take away their personality?"
CRK: "It neutralizes it. It creates an ambiguous quality for the viewer. It's that psychological and sexual tension that a lot of people will pick up on when they see my work. The body language and demeanor of the model. She doesn't really seem to be really giving it, so it's a question-who is she? What? What? What? People will say my work looks like still photographs lifted from a movie of impending action or action that has just happened. That de Chirico or that Edward Hopperesque stillness and isolation which is maybe a greater reflection of my being here (in Columbus, Ohio) in this environment. That I am alienated and isolated."
I asked about the few photos that show a disembodied man's legs or hands near a woman.
CRK: "Many viewers think that the women are in the motel room alone, doing it with no motivation. They can't figure out that there is obviously another person in the room sharing that moment. Is it the invisible photographer asking the model to do private things made public or you, the viewer, sharing this private moment with this woman?"
Krider produces another "hobby" of work. It is a series of imaginary pulp fiction covers that Chas entitles "Faux Fiction." They are images he has taken and then added titles and remarks to. I'm looking at photographs of various models he's shot and I ask him where a particularly striking brunette model came from. I'm looking at a photo of a woman dressed only in underwear.
EK: "This is a panty masterpiece."
CRK: "It is a panty masterpiece. Here is the routine. I don't have an idea in my head. I don't know what I'm going to do. This woman is coming over. All that I want is a little hock to hang the photo shoot on. So I go down to K-Mart and I get a six pack of panties. When she gets here, what I'm going to tell her is to change her panties periodically so, throughout the routine, it goes from flowered to pink to blue. Just keep it moving."
EK: "When you started photographing women in this manner you did more girls in stockings...."
CRK: "Yeah. In the beginning it was all stockings and girdles and high heels that really attracted me and then in the process I discovered sheer panties that seemed to be more interesting to me. I like this veiling. This seeing and not seeing. It gives the models a little sense of dignity or modesty. And I'm more into bare-leggedness. Maybe I'm getting lazy and I don't want to style and dress them up."
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