"I've spent the last 25 years of my photographic career investigating movement and its expressive potential. My inspiration has always been photography's ability to stop time and reveal wht the naked eye cannot see. My interest in photography is not to capture an image I see or even have in my mind, but to explore the potential of movements I can only begin to imagine. What intrigues me is making images that confound and confuse the viewer, but that the viewer knows, or suspects, really happened. I want my images to defy logic, or as Salvador Dali wrote, I strive to "systematize confusion and discredit reality." I can't depict the moments before or after the camera's click, but I invite the viewer's consideration of that question."
When Lois first began taking photographs during the late 60's, she originally dreamt to be a photojournalist for National Geographic. After graduating from University in 1970, she started working towards this goal, freelancing for newpapers, photographying everything from prisons to rock concerts. Having never studied in a class room she taught herself everything she knew.
When she was assigned to cover a dance concert, this was one obstacle, she knew nothing about the dance world or how to photograph movement, it look Lois a while to master photographing the unpredictable movement and lightening of dances on a stage. When she returned to New York, she then finally got the hang of it. But not only that she also found herself very intrigued by the subjects themselves.
As the modern dance world in New York increased. Lois photographyed as many dance rehearsels as she could, developing her technique and reputation, and regularly working for The Village Voice (NY Times, Dance Magazine) and many others. By 1978, she had grown frustrated with the documentary approach. Rather than trying to capture someone else's art form, she wanted to find a visual syntax of her own.
"We poured a mixture of sugar and flour down a tube over Sham's head while he jumped. I wanted him to look as though he himself was being poured and has coalesced into that shape."
"I want impossible looking situatons that allude to the moments before and after the shutter's click. I want to viewer to wonder, where is he coming from? How will he land?"
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