In the Spotlight | Ryan Pfluger

One of the reasons I love photography is that it allows me to see an isolated moment in time through another person’s eyes… a  unique expression of the photographer’s point of view and vision of the world.  Over the past few years, Brooklyn-based photographer Ryan Pfluger has cultivated a signature stylistic approach to showing us his vision of the world he inhabits, the people he encounters and the issues they battle.  His work is both serious and whimsical at times, and always infused with a sense of mystery that inspires questions… a desire to explore the intimate corners of the subjects’ lives in the same way that we feel the photographer has done in the process of capturing the image.  Our In the Spotlight series continues this week as we chat with  Ryan about father-son relationships, social networking, and why he’s dabbling with chicks again.

S: Thanks for taking the time to sit down and answer a few questions.  Let’s start off by getting the story behind your interest in photography.  When did you start and what pulled you behind the camera?

RP: It was honestly kind of a fluke, if that makes any sense.  I never planned on doing photography, even when I started college.  I was doing Art History and Asian Studies for a few years.  It took a trip to Australia and getting out of the States that really made me realize how wonderful having a camera with you can be.  Ever since then I haven’t been able to put one down.

S: At your last show, about half of the pieces were related to your MFA project in which you delve into your relationship with your father.  What inspired the series? 

RP: That project started because of something that Collier Schoor said to me.  She said my work was to easy for me, and that I really needed to challenge what my subject matter was in order to make the rest of the work more powerful.  The first thing I thought of was my father.  Our relationship was pretty non-existent at least in any real substantial way.  I also love the idea of using photography to facilitate the creation of relationships.  So, it’s all history from there.

S: One of the dominant themes in your work is seemingly intimate portraits of young hipster-type guys.  Where do you find your models and what sort of aesthetic are you seeking to create? 

RP: Um, it’s weird because it’s so current to even talk about it, because I just photograph the men I see myself surrounded by.  I choose my subjects because I don’t really have a connection with the aesthetic that people usually associate me with.  So I use photography as my way of socially interacting with these people. I enjoy photographing people that look like me in some regard…. it’s like an obscure version of self-portraiture.  I find most of my models on the internet, just because it’s like the best casting call you can have.  There is a never ending supply of new faces and personalities.  I also photograph men un-clothed (I don’t really like to say nudes) because it strips away the aesthetic that clothing can bring.  I’m more concerned with capturing the relationship between me and the subject.  Whether it be vulnerable, awkward or sensual.

S: When I wrote about the new Mapplethorpe Polaroids book, I noted that his photography sessions were often a lubricant for seducing his subjects.  Do you find that some guys get turned on when you’re photographing them? 

RP: I’m glad you mentioned that book because it has a special importance to me.  The woman who wrote that, Sylvia Wolf, was actually a mentor of mine and great supporter of my work.  I was her teaching assistant last year and she is a fantastic woman.  Um, yes, some men do get turned on when I photograph them…. I however do not at all.  There is a big separation for me between my artwork and my sexual-life.  The two very rarely cross paths; however, I don’t care if people think they do.

S: Speaking of famous photographers, do you find that your work is influenced by any contemporary artists?

RP: Are you trying to say I’m not famous or something? (Sarcasm doesn’t work so well in a written interview does it?)  Um, I’d be ignorant if I said my work wasn’t influenced by contemporary artists.  My work is a product of various time-periods of photography as well as contemporary culture.  I still think I’m most influenced by the great portrait photographers like Avedon and Mapplethorpe.  Katy Grannan is also someone I’m constantly looking at.  She has an incredible way with her subjects.

S: One of the things I found entertaining at your last show was the wall of profile pictures from online “social networking” sites.  How did that piece come about?   

RP: Um, I thought it was a necessary juxtaposition to my portraits.  The way digital photography and the internet has changed the way people present themselves to the public is incredible to me.  The fact that I could easily find 2000 different photographs of men shirtless taking their picture in front of a mirror is amazing to me.  I think that seeing that piece, next to my portraits really shows that what I’m doing with my portraits really is a lot more complex than photographs of “hipster” or “indie” guys.

S: From your blog it would appear that you’re branching out a little more into double X chromosome territory.  How’s that going so far? 

RP: I actually started with photographing women naked.  It was all I did.  Which was kind of entertaining for me I guess, being 19 and all.  I thought I was really cool.  I’ve never been cool though, that’s for sure.  I enjoy the female form a lot and I guess it just took a few years and a hundred naked men later for me to realize it.  

S: In addition to your own personal artwork, you’ve been popping up in Time Out NY a lot lately.  Where else can we see your work these days? 

RP: I love the editorial world, and I think I can finally say that I am able to make my living and support my personal work doing that.  Time Out NY was one of my first consistent clients.  Now I work with New York Times Magazine, DETAILS, OUT and other magazines.  I am really humbled to be able to have such incredible support from my editors, especially being a young emerging photographer.  It’s very easy to get a big head very fast, some say you even need one in the industry.  I prefer to just have a smile on my face and look forward to whatever I get to do next.

S: Is there any chance that we might see a Ryan Pfluger book in the near future? 

RP: There is one in the works actually.  I won’t go into details, but it will be a limited edition artist book and something very accessible for people that can’t afford to buy one of my prints, but wants to have a physical object of my work, and not see it on the internet (which is the worst place to look at artwork).

S: What projects do you have planned for the upcoming year? 

RP: Right now I’m working on a project that I’m really excited about, and will be exhibiting early next year.  The project is entitled “Edited” and I’m photographing various photography dealers/curators/editors in NYC that are influential in contemporary photography.  The project is about 50% done and I’ll unveil it completely at the end of the year.  By doing this project it deals with switching the roles on the decision makers.  Also, very few people can actually put a face with a name when it comes to these kind of individuals so it’s very exciting for me.

S: Thanks Ryan! I’ll be keeping an eye on your progress and I look forward to the next show.   

To see more of Ryan’s work check out his website and to follow his week to week musings and career progress, check out his blog.  For previous In the Spotlight features, take a look here and here.