Interview with David La Chapelle

'I would rather create a whole symphony than one great note'

by Shinta Lempers

David La Chapelle (Connecticut, 1969) is benevolent. Taking a stand against
inaccessible contemporary art he believes there’s only one path to follow: the heart. He talks about what moves and inspires him and what made his ongoing project, The Rape of Africa, a reality.

What was the inspiration behind this project?
In 2008 I visited the countries in mid-Africa because I’ve been doing a lot of travelling lately. Working in those countries made me really feel something. The land and the people were very moving and I wanted to use this experience to touch on something relevant. I think mythology and religions are always interpreted differently by each individual. This is my interpretation of Botticelli’s Venus and Mars: the circle between the god of war and the goddess of love, which has always existed and will never change.

Is the photograph a cynical comment on the history of the world?
For me it’s not a cynical comment on history. It’s all human. Every human being has a dark side. There’s always the struggle between war and love, good and evil. You never know which one is going to win next. I chose one continent specifically because it makes this understandable. History tells us it was the people from the western
continent who raped Africa. It was greed that took all the treasures away. You know, Mother Africa is the cradle of civilisation; in the greatest sense Africa stands for the world, to which greed in people is causing damage constantly.

Why did you choose only one photograph?
I didn’t choose a whole series because I don’t want to constantly remake old artists’ artworks. Botticelli’s Venus and Mars really made me feel something special though. It’s epic and really appropriate for my concept. The everlasting battle - and finding a balance - between war and love, is a very interesting subject. I also thought this project needed to be one piece only because it makes it more focused.

Is this project more personal than your fashion photography?
All the editorial work I have done is very personal, I always try to deliver my own message. Although I did make a huge shift in my career stepping out of advertising, moving to Hawaii and working on my artworks. But in the end, it’s the advertising work that made it possible to follow my dream. Everything it brought in I invested in personal projects. In all my work my goal is really to make my message understandable for everyone; to make it elitist is to be selfish. I want to communicate with my photographs, no matter what the subject is.

The photograph has a lot of details and references in it, such as the Sun detergent packages that decorate the wall. I am curious to know if these are actually references to your former mentor and friend Andy Warhol?
There are always little references in my works. In this piece, for instance, there are three soldiers protecting Mars, whereas Botticelli’s painting had four. I replaced the fourth soldier with Damien Hirst’s skull, the ultimate symbol of luxury. So, as to the detergent packages, everything that has repetition is Warholian to me. However, in Africa I came across houses in which people actually use these packages to cover their walls.

Do you think that you have made The Rape of Africa as a theme a novelty in art, and perhaps a source of inspiration for other artists?
I have no idea, but I truly hope so. I hope it appeals to people and it inspires artists not be afraid that aesthetics, nostalgic and romantic themes and following your heart stand in the way of a good artwork. My goal is to reach everyone who loves art. I would rather create a whole symphony than one great note.

Thank you for the interview and I am really looking forward to the outcome of your future project, which you explained will be a new series about paradise as a metaphor for enlightenment.