At VISU Contemporary in Miami Beach, photographer David LaChapelle presents a landmark exhibition of new and acclaimed works in an exhibition titled “Vanishing Act.” On view from November 29–January 31, 2026, the show features over 30 photographs from LaChapelle’s bombastic career, including the premiere of nine new works. Whitewaller spoke with the Maui-based artist about the presentation and why nature and beauty will always be centric to his work.
Portrait of David LaChapelle, photo by Thomas Canet, courtesy of artist.
David LaChapelle, “Devon Aoki,” 1998, courtesy of the artist.
WHITEWALLER: How did you select the images on view in the show?
DAVID LACHAPELLE: I try to make art that connects with people. For “Vanishing Act,” there are some new works that address themes that are on my mind and I often use humor to express them. For example, Will the World End in Fire, Will the World End in Ice, it’s this idea of society “partying while Rome is burning.” Today, there is a sense that everyone feels that things are not normal, but the world is going on like normal. I feel this picture sums up our isolation—not only from each other but from reality and the truth.
WW: What do you hope these images offer in response to a time of such uncertainty?
DLC: I hope there is cultural introspection, but from where I stand, I am seeing culture distraction. We are distracting ourselves from introspection. Introspection is turning devices, thinking of ourselves, our past and how to be better. Solitude and quiet, which I don’t feel like we are engaged in now. Talking about the “Negative Currency” series, which I have been adding to for the past three decades. This specific examination of negative currency focuses on Venezuela, Cuba, and North Korea—three nations that have gone through periods of economic hardship and international isolation following major political and structural shifts. They say love of money is the root to all evil. It’s not money itself, but what people will do for money. Some people will sacrifice their humanity in the pursuit of money.
David LaChapelle, “Megan the Stallion,” courtesy of the artist.
WW: Can you tell us about Biombos (1986-2017)—a stained glass panels of hand-painted negatives reflect on faith, loss and transcendence?
DLC: I don’t believe that life is limited to the material or mortal world, it extends into the spiritual. I’ve always had faith, and that faith lets me sleep peacefully, knowing that tomorrow isn’t promised and that we’re living in a new chapter of the world. Faith gives me both peace and purpose. Naturally, we want to share the good things we discover. This work is one of those good things for me, and I want to share it.
WW: How does what you’re presenting here tie back to the evolving, or “vanishing,” nature of what’s around us?
DLC: Nature is where I go to revive. A forest is a kind of cathedral for me and something sacred that I need in my life. I have to be among trees, and sit in the forest. It’s essential to my well-being. It’s painful to see what’s happened to the vanishing beauty of the natural world. Nature is under attack for overuse of resources, but there is still beauty that remains, and so I focus on the nature that is still here.
What to Know
David LaChapelle, “Chanel on Ice,” 1998, pigment print, courtesy of the artist.
David LaChapelle, “Shows to die for,” 1997, courtesy of the artist.
Don’t Miss
Biombos (1986-2017)—a stained glass panel of hand-painted negatives that reflect on faith, loss, and transcendence.
Why It Matters
It shows David LaChapelle’s evolution from pop surrealist to spiritual humanist—using his signature visual opulence to question modern distraction and the fragile beauty of nature.
Dates
On view through January 31, 2026.
Venue
VISU Contemporary.
Curator
Bruce Halpryn.
David LaChapelle, “Annunciation,” 2019, pigment print, courtesy of the artist.
