In Emanuel Lavor’s photos, the flow of everyday life, entangled with his interest in analog photography, opens a space for photographic experiments. The choice of this technique reveals his interest in working with a nostalgic aesthetic and his preference for a slower rhythm of production.
The state of pleasure according to the Hungarian psychologist Mihaly Csikszentmihalyi is synonymous with the loss of self-awareness, the distortion of the perception of time, in addition to a deep integration between body and space.
The immateriality of the contemporary work of art became a subject of artistic experimentation since the second half of the twentieth century and resulted in reflection on abstract spaces. In this context, the photographer seems to follow the same path by dematerializing photography.
However, long before that, many photographers attempted to represent the “photographic instant”, the technical capacity to capture reality in the shortest possible time. An example is “The Horse in Motion” a photo taken by Eadweard Muybridge in 1878, that demonstrates the way horses move their feet during racing competitions. In Emanuel Lavor’s photos, the aim is to capture the flow.
Artistic creation is no longer about photographic support, but about the concept of immateriality in photographic language. Unlike the photographic instant that privileged the technical ability to click at the right moment, the flow of Emanuel Lavor says more about capturing what you cannot see, the sensations, the ecstasy, the flow.
