Red (2021) bathes the viewer in red light. The screen flickers, at times, becoming more yellow or orange. A corner of white is occasionally revealed. A strobing effect is occasionally achieved by the artist placing their thumb over the iPhone camera. The trigger warning for this is an integral part of the work. The film seems to respond to the historical legacy of avant-garde film traditions and structuralist filmmaking. Here, however, Lazard considers the ‘krip’ sensibility within such histories and practices that were perhaps always integral but undefined, unacknowledged, and ill-articulated. Red responds quite specifically to a legacy of film by artists like Tony Conrad, Peter Kubelka and Paul Sharits. Watching this work strobe and flood its light over you engenders a physiological response. Lazard has noted that; ‘at the beginning of Tony Conrad’s The Flicker (1966), there was what we would call today an access note saying you needed to have a doctor on hand when you showed the film because it could trigger photosensitive epilepsy. I’m interested in the way in which access was built into these traditions and how we can think through infrastructures of access as aesthetic practices.' Red was made during the COVID-19 pandemic and is very much informed by the technologies and environments that were available to work with at the time. The structural proclivity of this work speaks to that moment when the social constrictions that were placed on everyone, were all too familiar to those already with chronic conditions or immunocompromised status. As with much of Lazard’s work, Red foregrounds access as an embedded condition of making and not an accommodation to normative experience.