This story originally appeared on i-D Italy.
If life is essentially one long, uninterrupted state of flux, any semblance of stability is mere illusion. Chaos, on the other hand, is inevitable. This seems to be the message behind German fashion photographer Valeria Herklotz’s latest photo book, Chaos, published by Oui Non Editions, which documents a series of bodies in motion, dancing with wild abandon.
Throughout a career which has also spanned work as a casting director, Valeria has long been fascinated by the visual representation of a world in which everything is in the process of becoming — a limbo where anything seems possible and where photography doesn’t capture but liberates. It’s here that Chaos takes shape: across five instalments, her subjects literally move beyond the boundaries of conventional framing; breaking free from expectations and demonstrating how sometimes, the chaotic can be the most powerful tool for personal investigation.
Following an exhibition in Milan, we asked Valeria to explain the genesis of the book, and how the static nature of fashion photography propelled her explore the dynamism of movement.
Hi Valeria! How was Chaos born?
I started by taking pictures of a group of girls running on a beach while playing. Looking at them, I saw a certain freedom that intrigued me and seemed completely new. During the realisation of the project, I wanted to create scenarios, specific moments or gestures that find their strength in uncertainty and vulnerability. Loosening the reins, for me, means decreasing fear and focusing on a chaotic feeling that resembles joy.
The word chaos can be interpreted in a number of ways. What is the meaning for you? How did you try to communicate it through your project?
I wanted to take a step back and let things unfold on their own, without giving too many instructions. Introducing this chaotic drive into my practice also meant giving up some of the control I usually have when I am behind the lens. In life, we often adapt and accept predetermined roles. In this sense, chaos can be used as a revolutionary tool to deconstruct the categories of subject and object in a more democratic direction.
You’ve previously worked as a model scout and casting director. How has that experience influenced your work, casting and the way you direct subjects on set?
During castings, I often took pictures of people who had never been professionally photographed before. Now I want to do the same, but in a way that makes their first experience a positive one.
Your portfolio ranges from intimate portraits – like the photographs you took of Berlin teenagers for Zeitmagazin – to fashion editorials. What is your background and how does Chaos fit with the work you have done in the past?
Commissioned work is usually much quicker for me and less experimental – but don’t get me wrong, I really enjoy working with fashion. In my personal work though, I have an enormous freedom to shoot, reflect on photographs and simply enjoy the process at a more leisurely pace. I’m fascinated by the fine line between the two different approaches: when can a fashion shoot be called a fashion shoot, and when is a portrait just a portrait? Of course, in an editorial for a magazine there’s the commercial element; after all, the whole point is to advertise clothes and other products, but at the same time, a fashion shot is so much more than that. Conversely, I believe that non-commercial shots often refer to pop culture imagery and themes that have a commercial origin. As a consumer and producer, I would like to see the photograph as a spectrum to play with, not as a compartmentalised art.
How do you try to embody the female gaze in your photographs?
Most of the time I take pictures of women and girls, and I try to do it in a non-hierarchical way; their interest in and commitment to being part of the image moves me. In this way, the work is personal and intimate for both parties. Nevertheless, there have been times where, after a shoot, the subjects ask me if the photos came out well or if I was happy with the result – this reveals a certain vulnerability that somehow clashes with the confidence they show during the shoot. But I understand the reason for this duplicity. I feel a lot of empathy for the people I photograph and they trust me, which is a dynamic that I sometimes feel is missing in fashion photography.
What do you think about the power (political, social, personal) of bodies in motion?
I believe that togetherness is an important element, along with inclusion. Besides that, occupying space and having the freedom to express yourself without shame can be a political gesture. I feel excited and energetic when I take pictures like the ones in Chaos, and sometimes I am really enchanted by the women I immortalise. I don’t want to hide these emotions through an approach that seems voyeuristic or detached.
The aesthetic of Chaos is magnetic and very cinematic. What were your inspirations?
I like that specific rhythm that printed matter has when you flip through a series of images and pages; I like to feel a certain kind of paper under my fingers. I simply wanted to create an object that was desirable for me, and hopefully for other people as well.
Credits
All images courtesy of Valeria Herklotz