«Viewers can perceive my work as commentary on overpopulation or crowding. It’s a dichotomy: the sense of anxiety juxtaposed with the shared happiness of being together» – Pelle Cass for Lampoon
For its Boiling issue, Lampoon is in conversation with Pelle Casse – Communication and Pelle Cass’s style
I harbor the desire to etch myself into the annals of art history to influence how individuals perceive the world. Picture this: you’re strolling through the bustling streets of reality, and suddenly, a scene unfolds before you that bears a resemblance to my work. In that moment, I hope you pause and think: «Ah, that’s reminiscent of Pelle Cass’s style». Not merely because of the visual similarities, but because encountering my art has subtly altered your perception of the world. An ultimate goal is to exert an influence on others. That’s the essence of creating art. It’s not merely about communication. It’s about crafting something novel that sparks excitement and contemplation in the viewer. Yet, I’m cognizant of the fact that there’s only so much room for replication. If a dozen others were to mimic my techniques, it would quickly lose its allure, relegated to the realm of a banal trick.
I first experimented with my technique back in 2008. I observed people passing by outside my window. Each passing moment added layers of information. By compiling just a few days’ worth of observations, I could capture a slice of time in a single picture. Seeing others emulate my work is flattering, considering the late success I’ve found in my career. If someone executes it even better, I’m pleased; after all, the goal of art is to permeate culture and leave an impact. There’s a twinge of apprehension that someone might surpass my contributions and be remembered more in art history. I would feel disappointed – nonetheless, I’ll acknowledge their talent and offer a tip of the hat: that’s just how the art world evolves.
Pelle Cass and the sports photography
I have two types of work: sports photography and candid street captures, which I consider neither solely community-focused nor individual-centric but rather formal. I’m drawn to the way bodies interact within the frame of sports imagery, noting how individuality fades as subjects move into the distance. This aesthetic quality intrigues me. My creative process involves disrupting conventional sequences and exploring abstract compositional ideas rather than conforming to societal norms. People serve as compositional elements in my work: I see them as abstract forms rather than individuals with distinct identities. Moments of communal expression, such as shared gestures in sports victories, may emerge, but my intention isn’t necessarily to make explicit social commentary. My photography is more about exploring abstract composition and capturing spontaneous moments than making deliberate statements about communities or individuals, whether in sports or street settings.
Pelle Cass: embrace spontaneity and the natural flow of human activity
I adhere to a set of principles: refraining from manipulating images extensively. I may occasionally indulge in minor alterations for amusement, but the core of my work remains untouched. Instead, what I manipulate is the human capacity for attention. My pieces mirror the act of perception itself. If you attend a sports event and fixate on the spectacle of people leaping into the air, you might create an image where everyone’s feet are suspended off the ground. Here, I’m not artificially lifting individuals in Photoshop; I’m leveraging my observational skills to assemble a scene where this recurring phenomenon takes center stage. Like all photographs, my compositions inherently manipulate viewers by guiding their focus. By selecting certain elements over others, I direct attention to specific aspects of the scene. However, unlike surrealist or commercial photography, I refrain from rearranging components within the frame to fit a predetermined narrative or aesthetic formula. There’s no predetermined formula dictating who stands where; instead, I embrace spontaneity and the natural flow of human activity.
Sport and a non-traditional definition of community
My approach to photography has shifted, when I’m commissioned to capture subjects initiated by others, as with New York magazine. While the talents’ fame held no sway over me, my focus remained steadfast: crafting a compelling image. It posed a formal challenge – integrating many figures into an expressive composition that engages viewers at every glance. Their celebrity status didn’t affect my approach; I wasn’t aiming to portray them in any particular light, nor did I seek to evoke embarrassment. My sole objective was to infuse the image with life, making it more of an observational pursuit. I am more drawn to capturing groups of people rather than individuals. There’s an innate appreciation for the dynamic energy of public spaces and the interactions between strangers. While it may not fit the traditional definition of community, a sense of togetherness in public settings resonates with me. Whether it’s people gathering to watch sports or simply navigating the streets as strangers, there’s a shared human experience that I find compelling. I may not always seek out social interactions, but there’s a genuine enjoyment in observing the diversity of human activity and connection in public spaces. It’s comforting not to be alone and to witness the richness of human life unfolding before me.
AI-generated art according to Pelle Cass
People might wonder if AI plays a role in creating my images – but my job is based on authenticity: every element is captured as it happened, albeit not all at the same time. While I use AI tools in Photoshop for minor tasks like silhouetting people, I can’t envision incorporating AI into my current process to any extent. I find amusement in AI’s quirks and mistakes. It’s not the polished, surreal outcomes that fascinate me, but rather the whimsical errors where AI struggles with language or produces unexpected results. Exploring AI further would likely lead to a separate series rather than an integration into my existing body of work.
AI could interpret and potentially misinterpret my artistic intentions, perhaps resulting in unexpected and humorous outcomes. I also recognize the potential for AI to become more sophisticated over time, primarily through training. I recall a case involving David Sally, who attempted to train AI to generate images resembling his own work. While there were instances where the AI produced similar-looking pieces, they often needed more depth and originality than he sought.
My experiences with AI, albeit on a more limited scale, have led me to believe that while it can replicate existing styles to some extent, it needs help to generate novel ideas independently. I’ve observed that AI-generated art often appears derivative, like a collage of familiar elements arranged in new configurations. That’s surrealism. There may come a time when it can produce genuinely stimulating and innovative works of art. Until then, I’ll continue embracing the idiosyncrasies and imperfections that make human creativity unique and compelling.
Sports, photography and chronological sequence
My work has room for interpretation. Viewers can perceive it as commentary on overpopulation or crowding, especially given the dense compositions. It’s a dichotomy: the sense of anxiety from the closeness of bodies juxtaposed with the shared happiness of being together. I don’t prescribe advice or make definitive statements in my work; it’s not my inclination.
Instead, it carries a subtle moral stance that encourages viewers to observe, contemplate, and appreciate the complexities of human interaction in public spaces. The underlying message might be to encourage more profound observation and critical thinking. By presenting moments out of their chronological sequence, I aim to highlight the meanings and layers of significance inherent in everyday events, whether it’s a sports match or a casual encounter on the street.
Pelle Cass’s childhood in Boston
I’m not a natural-born traveler and am selective about the projects I take on. I’ve always been more at home in my studio, where I can work independently and immerse myself in my craft. Traveling can be a bit daunting for me as I navigate the world with a touch of anxiety rather than boundless confidence. Despite the challenges, I welcome the chance to broaden my horizons and discover new sources of inspiration wherever they may lead me. Boston is home.
It wasn’t a deliberate choice over other cities. Despite its reputation as a somewhat conservative and old-fashioned city, Boston’s blend of tradition and innovation has left a lasting impression on me. I spent part of my childhood in the suburbs north of Boston before briefly relocating to Florida. The majority of my adult life has been spent in Boston. Despite its architectural quirks, places like the Government Center and the scenic spots along the river have become integral to my artistic vision.
Sports enthusiasts
I’m a moderate sports enthusiast. I’ve dabbled in various sports over the years, with tennis being the one I’ve played the most. Recently, I switched to pickleball, which some might find amusing, but it’s enjoyable. I’ve also tried volleyball, basketball, and other sports alongside tennis and pickleball. Basketball and tennis are the most captivating. An element of tension in these sports can make even the most mundane match compelling. My enthusiasm for watching sports pales compared to my passion for playing them. I tend to focus less on the narratives surrounding sports – like the heroics of athletes – and more on the players’ physicality, movements, and expressions. I’ve only photographed one famous athlete, Enzo LeFort, a world-champion French fencer. I appreciate the athleticism and skill of athletes, but it’s not a primary focus of my work. Some of my work was featured in the Metro to celebrate the Olympics, which was a pleasant surprise. It would be exciting to attend the games; part of me also relishes the idea of staying home and continuing my projects. Whether I find myself in Paris for the Olympics or not, I’ll be content either way.
Consumption and the economic framework following the words of Pelle Cass
It’s a paradox regarding my work with luxury brands. On the one hand, yes, I’m promoting consumption through advertising. That’s the nature of the beast – it’s about enticing people to buy things. I’m not much of a consumer myself. I don’t have a voracious appetite for material possessions, and it’s not a lifestyle I actively endorse. The dynamic of being compensated for doing what I love has always struck me as peculiar. Why should one have to conform to someone else’s directives in an office setting just to earn a living? It’s a notion that’s never quite sat right with me. Money, as a form of energy exchanged within our economic system, is necessary for survival and participation, yet I often find myself at odds with the mechanics of it all.
Living and working within this economic framework can feel confining at times. I didn’t set out with a grand plan to reside in Boston – it’s where life led me. To sustain myself, I’ve had to navigate financial transactions and commissioned work. There are moments of satisfaction in my work, especially within fashion photography for luxury brands. While not every image aligns perfectly with my artistic vision, there are instances where I capture something remarkable – a photograph that resonates with me. In those moments, the monetary compensation becomes secondary to the intrinsic value I find in creating something meaningful.
Pelle Cass and fashion photography
Fashion photography is less about actively participating in the fashion world and more about documenting the spectacle unfolding before me. I’m not an authority on trends or styles; that’s the realm of the stylists and designers. Instead, I approach each shoot as an opportunity to observe and capture the vibrant colors, textures, and narratives that unfold before my lens.
While I may only sometimes understand the intricacies of the fashion world, I’m grateful for the chance to document its creativity and spectacle through my unique perspective. I’m unsure if I’m in a proper position in my life, per se. It’s more about striving to create work that sparks thought and inspires others. I don’t necessarily see myself as an educator, but I do hope that my work catalyzes ideas and innovation in future generations.
Pelle Cass
Pelle Cass is an award-winning photographer from Boston whose work has been widely exhibited, collected, and published. He’s had solo shows at places such as Gallery Kayafas, Boston, the Photographic Resource Center, Boston, and the Houston Center for Photography, and his work appears in collections such as the Fogg Art Museum, the Peabody Essex Museum, and the Museum of Fine Arts, Houston. He was twice a Critical Mass Top 50 photographer and received two fellowships from Yaddo and one from the Berkshire Taconic Foundation.
