SHOW DETAILS
IN LIGHT AND SHADOW is the first solo exhibition of photographer Larissa Krysiek. Established under the moniker @shoottostill on instagram, her work spans across several areas of interest (portraits, places, and perspectives) and is unified by the sense of being present next to her as the photograph is captured and the moment immortalized. The majority of her work is conducted 1:1, and her intent to share intimacy with the viewer through her visual and internal exploration is a continual theme.
In 2023, the artist looks to expand her range with editorial world building.
PERSPECTIVE
Part of assembling this show was going through bodies of work that no longer exist in their entirety due to various technical failings. Having to reforge parts of your narrative is a bit like (I imagine) being a musician who is tasked with a remix. It’s arduous, it makes you wonder if you’ve come far at all, but by the end you have something reasonable to offer. A process of compromise and harmony.
There was too much and not enough to include. So many similarities in poses and visual commonalities find you when narrowing the selection that it’s important to remember you’re presenting one glimpse and not the whole body of work. Brand shoots, lots of travel photos, and many, many headshot sessions were omitted. To anyone else who is called to create, you’ll understand that an imperfect permanence is made here.
To the moon.
Thank you to Mike Wozniak for ai & hanging assistance
PORTRAITS
To connect you must see and maybe, be seen. I don’t know how much I am perceived. Most days, I feel invisible which is I guess a merit to any photographer seeking to create intimacy. For a longtime my subjects weren’t people — it was just spaces and landscapes. And then slowly and bravely, spaces filled with strangers, friends, cashiers from H&M.
Portrait sittings are some of the most gratifying labors because I become a reflection—an affirmation. To show everyone that how they see themselves is valid and clear; To push past the constraints put upon us by the ‘90s and the industries at large. There’s a weightlessness when you get the shot that I can’t quite explain. The beauty, the complexity, the ember. The process of seeing people recognize and accept themselves heals me, too.
The connection between us is the string I’m always pulling at;
Both a lens and a mirror are just glass and metal.
PLACES
My dad wasn’t exactly thrilled when I bought my first real digital camera—I owed him money for my car and laptop (both of which are completely non-functional now). I was starting my junior year of college and studying abroad in London. I argued the purchase was a necessity because I’d be taking a lot of trips and wanted good photos. It’s probably the only financial investment I’ve ever been right about.
What does it say about me (or anyone) who finds themselves so alone in a place they’re supposed to feel so connected and every version of themselves in a place where they’re not? I’m sure many therapists would have a lot to say. I pick up parts of me when I travel. The bravest ones, the kindest ones. Ones that rarely swear and function on a different type of curiosity from the one that operates stateside. Maybe a bit of revelry, too.
Excluded from this selection are most of the places I’ve been purely for palette reasons. Sundrenched landscapes were preferred, though it’s the icy blues and windy landscapes left behind that seem most familiar.
The question“where do you see yourself in x years?” feels futile. Travel assures me one thing:
Even if I go nowhere, I got somewhere.
SOUNDTRACK
Specially assembled for the show
A mix of sunny days and introspection, great for spring cleaning or staring at the ceiling from the floor with a fresh breeze