I would say that the whole way that I have approached the body is as a space, not a thing - not an object to be improved, idealised or whatever, but simply to be dwelt in.
'6 Times' is an attempt to reinvestigate the social responsibility of sculpture. The body in question is a particular body, but it doesn't really matter whose it is.
Among other things, I use a Samsung mobile phone, a very bad quality video camera, and an old Olympus with extremely bad Sigma lenses.
I'd like to take more pictures of real celebrities. It would be fabulous to photograph Brad Pitt. He's so good-looking and just such a star.
Photography acts as a teaser, suggesting we can know something that we can never know. And the more we can't obtain it, the more we want it.
I think I understand something about space. I think the job of a sculptor is spatial as much as it is to do with form.
It's precisely in those moments when I don't know what to do, boredom drives one to try a host of possibilities to either get somewhere or not get anywhere.
Content arises out of certain considerations about form, material, context-and that when that subject matter is sufficiently far away.
My first show sold within the first 3 minutes, and I came back to the studio and spent the next two and a half years making almost nothing.
What interests me is the sense of the darkness that we carry within us, the darkness that's akin to one of the principal subjects of the sublime - terror.
When I say I want to photograph someone, what it really means is that I'd like to know them. Anyone I know I photograph.
In a portrait, you have room to have a point of view and to be conceptual with a picture. The image may not be literally what's going on, but it's representative.
I went to Yosemite as an homage to Ansel Adams. I could never be Ansel Adams, but to know that's there for us - there's so much for us in this country.
When you go to take someone's picture, the first thing they say is, what you want me to do? Everyone is very awkward.
I've created a vocabulary of different styles. I draw from many different ways to take a picture. Sometimes I go back to reportage, to journalism.
What I am interested in now is the landscape. Pictures without people. I wouldn't be surprised if eventually there are no people in my pictures. It is so emotional.
Lennon was very helpful. What he taught me seems completely obvious: he expected people to treat each other well.
When I started working for Rolling Stone, I became very interested in journalism and thought maybe that's what I was doing, but it wasn't.
Video just accesses international information so much more readily.
For me, the world is a stage, and we are all playing the character we have chosen to play on that stage. It is the job of the photographer to capture the drama of the performance.
I'm always followed by two or three cars and have police around. Even walking in the park, you see them taking photos behind the bushes and trying to videotape everything.
