When Larry Fink picks up a camera he is on a quest for the inherent poetry of the present moment.
Since he started taking photographs of the Beats back in the late 50s, he has felt the compelling need to capture things as he sensed them: rather than a strict adherence to matter-of-factness, Larry’s work is an expression of how he feels. He wades into reality, he senses it and seize it from the inside, his eyes constantly surveying the sensual little things of the ordinary world.
People are mainly what Larry is looking for. People, whatever their origin, social background or beliefs. People to catch off guard, to identify with, to freeze in time while capturing the throbbing energy that flows through their bodies. Even as he wanders through Jil Sander’s offices, Larry is filled with guileless curiosity. His camera is an extension of his senses, touching and tasting everything it encounters. The corporeality of the models, sculptural attendees moulded by the flashing lights of the camera, contrast with the purity of the clothes, the fluidity of the gestures with the sharp silhouettes and cuts.
Fink entered the hectic realm of fashion for the first time in the late 70s and has been documenting the system for several publications ever since. Always true to his peculiar artistic sensibility and trusting of his intuition, he has been elegantly juxtaposing the straightforwardness of improvisation with the theatricality of the fashion world, remaining for the most part an outsider – a stranger to the conventions of the industry, yet so talented in grasping its volatile spirit.
Larry’s eye sheds new light on the wonders of the everyday, infusing each single moment with life that has yet to be lived to the fullest.