The impulse for me to want to make sculpture is because I want to make statements, really, on a purely emotional level. And it's also somewhat of a challenge to see how that can be done with materials and objects that really are not emotional, in and...
I had a very outdoorsy childhood. I was athletic and used to ride and do dressage. I could ride almost before I could walk. There is a picture of me at 18 months old sitting happily on the back of a donkey.
I go up to people and ask if I can use them in my photos. Occasionally it is the person in question, as happened with James Hewitt. How embarrassing. He just laughed and said, 'You can't afford me.'
There is a wall of myth around royals and A-list celebrities, and that makes us wonder what they are really like. We see them on magazine covers so often that we think we know them intimately, and we want to learn more. I like to burst that bubble a ...
Twitter was like a poem. It was rich, real and spontaneous. It really fit my style. In a year and a half, I tweeted 60,000 tweets, over 100,000 words. I spent a minimum eight hours a day on it, sometimes 24 hours.
It's the movies that have really been running things in America ever since they were invented. They show you what to do, how to do it, when to do it, how to feel about it, and how to look how you feel about it." Andy Warhol
Listening and being curious and wide-eyed in the world, I think, is what allows us to move forward, progress, evolve and learn and alter our behavior and become more self-aware. I think that listening is kind of what it's all about.
If Abstract Expression reached for the sublime, Pop turned ordinary imagery into icons. Roy Lichtenstein and Andy Warhol illuminated the transformative power of context and the process of reproduction. Claes Oldenburg's soft ice-cream cones and hambu...
I was in Milan, and somebody gave me a Trussardi diary, and I thought 'Genius.' Inside I put the Polaroids, how much film I shot, who I shot with. This way, for billing later on, I had all the information.
I always have a lot of things going on because some things take years to make and others take five minutes. I like that there's always something going on. Working doesn't have such a momentous feel - like it's all or nothing.
Fortunately for me, I know well enough what I want, and am basically utterly indifferent to the criticism that I work to hurriedly. In answer to that, I have done some things even more hurriedly theses last few days.
A lot of my friends were mostly working in black-and-white - people like Lee Friedlander, Diane Arbus, Garry Winogrand, and others. We would exchange prints with each other, and they were always very supportive of what I was doing.
I've tried doing so, for it was never my intention to paint only with gray. But in the course of my work I have eliminated one color after another, and what has remained is gray, gray, gray!
When a man returned from the field and we'd look at the work, we'd criticize each other very genuinely and never offensively. And we would avoid all tricks, angle shots were just horrible to us.
Close your bodily eye, that you may see your picture first with the eye of the spirit. Then bring to light what you have seen in the darkness, that its effect may work back, from without to within.
If you really want to be an artist, you search yourself, and you find a lot of it comes from earlier times. I have pretty much built the work around my experiences. When I've moved from one place to another, the work has changed.
When you stop doing something, it doesn't mean you are rejecting the previous work. That's the mistake; it's not rejecting it, it's saying, 'I have exploited it enough now and I wish to take a look at another corner.'
Building is just skilled labor, I suppose. It's a lot of work. I don't mind other people building them, but the way things go together and are made is interesting to me; I like that a lot.
My work is on the one hand laboured, and on the other completely happenstance and intuitive. But that's the swish in the work, I think. It's really important to me that the work isn't just sitting on top of something, that the materials are woven tog...
A painting of a person can be descriptive, but for me it's about all the things that make up a picture - the feelings, the brushstrokes - more than describing somebody. People latch on to the personalities when they talk about my work and forget the ...
After Land I wanted to continue exploring the theme but I needed a new challenge so turned to colour. I explored Bradford and produced a series of urban landscapes that I liked, but because Land had made such an impact on the general public my colour...
