Der Greif X MPB: Behind the Image with Lucy Sparks

Der Greif in partnership with MPB presents Lucy Sparks, Guest Room Scholarship winner

Der Greif and MPB introduce Lucy Sparks, who was nominated by the “Interiors” Guest Room curator Aaron Stern. At times deliberately suggestive, Sparks' work explores the boundaries between the real and the imagined, the distorted and the erotic. Her experiences photographing in Essex and California, with their unique myths and imagery, have deeply informed many of her commissioned and personal projects, such as her "Night Gloom" series.

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Der Greif: Can you tell us the story behind your work selected for Guest Room?

The images were taken during my time in America, where I developed a fascination with themed hotels that almost resembled a David Lynch movie set. I spent a great deal of time in each room, immersing myself in the rich fabrics and textures that inspired this series. My goal was to capture and convey the eerie atmosphere I experienced. Gaudy hotels have a unique appeal for me. They can be both seedy and opulent: qualities you'll find throughout my work. California itself is an important character in this series, especially since it's home to Hollywood. I have always loved the documentary “LA Plays Itself”, which references various locations that have become characters in their own right - places that give up a bit of their mystery to each of the filmmakers and photographers who pass through. The series could almost be seen as a collection of movie stills or close-ups. It really speaks to the way I like to photograph places.

Der Greif: Can you expand on the themes that specifically your photographic work explores?

I see my work as having two strands. First, I often draw from the conventional and everyday to offer an alternative perspective on the world, aiming to transform the ordinary into fictional spaces. Using materials such as leather, plastic and food, I create images that, when photographed, take on a visceral, haunting quality, hinting at untold lives and stories that explore themes of distortion and sexuality. Second, my fascination with human desire and consumption has a profound influence. I'm fascinated by the allure of hyper-luxury, yet I feel a strong aversion to its excess. It's this duality that drives my interest. The fashion world is very good at creating a mirage, making products seem irresistible. And I think this stuff resonates with people on a personal level. In my late teens, I was always saving up for a pair of Gucci shoes or a Louis Vuitton bag, and even now I get excited when I see a Ferrari. I find the mystique of luxury brands truly compelling, because it's less about the items themselves and more about the intangible qualities they promise: status, identity, exclusivity, and self-expression. So I don't think it's a coincidence that I also photograph luxury fashion. I don't see my commercial projects and my artistic work as completely separate. They feed into each other. In many ways, you can't have one without the other. By weaving these two spheres together, I find new subjects to photograph.

Der Greif: What is the biggest challenge you have faced in photography?

Getting access to the places I want to photograph can be a challenge, especially when working in the United States. For example, when I tried to shoot in a tanning salon, the staff refused my request because they thought I was an undercover health and safety officer. It took me nine weeks to get permission to shoot in one of the hotels I photographed, so I've learned to be patient with these situations. I feel that there is sometimes a distrust of photographers due to concerns about privacy or fear of misrepresentation, so it's always important to gain trust and understand the impact of my presence. On the other hand, some of my favorite shots have come from spontaneous moments - things I've seen on the street or in a store where I've been given permission on the spot.

Der Greif: Who are some photographers that inspire your work?

Over the years, I've been inspired by a number of photographers. William Eggleston for his mood and use of color. Tayrn Simon's ability to gain access to challenging locations is particularly evident in her book American Index of the Hidden and Unfamiliar. I also admire John Divola's work for its austere eeriness, especially his California desert landscapes, which resonate with me because I've spent so much time there.

Der Greif: What are you working on right now?

I'm about to begin a series of photographs focusing on snakes, a subject that both fascinates and unnerves me. Snakes play such a variety of symbolic roles in culture: a shorthand for transformation, healing, suffocation or danger. The images will be accompanied by texts by Dr. Sophie Morris and will explore their mythological qualities. I enjoy collaborating with writers, historians and other artists to enrich my creative practice. As some of my images have a documentary/archival element, supporting texts complement the visual work well.

Der Greif: What kind of gear do you work with?

I mainly shoot with a Nikon D850 and a Profoto A1 flash, which I love. It's compact, incredibly powerful and comes with a variety of excellent accessories. It allows me to stay nimble and sharp when I shoot.

Der Greif: What was the first camera you ever used?

I have trouble remembering my first film camera; I know it was film, but I can't remember the details because I was too young. I do remember having a lot of fun with a Sony Coolpix in my teens. I didn't really get into photography until my late 20s, but it was always in the background. My father had a darkroom at home, which I found fascinating as a child. Some of my earliest memories are of walking into that room and seeing all the photographs hanging on strings.

Der Greif: What do you look for/value in your gear today? Any thoughts on used gear?

For me, durability is key, you need to be able to trust your camera. I feel that a lot of photographic equipment is extremely well made and built to last, so I have no qualms about buying used.

Der Greif: Can you tell us what this scholarship means for you?

To have my work recognized by both Aaron Stern and Der Greif was incredibly affirming. I've admired the magazine for many years, so I'm overjoyed that the scholarship supported by MPB will allow me to pursue a new project that I'm very excited about.