Photography is a way of feeling, of touching, of loving. What you have caught on film is captured forever…it remembers little things, long after you have forgotten everything.
I'm a novelist, a critic, an essayist - I tend to see politics as a subset of cultures rather than the other way around. It's a human enterprise, a tool or a technology revealing our collective inner self.
Fantasy isn't something I put into the pictures; I don't try and inject them with a sense of play. But it's about being an honest photographer; a photograph is as much of a mirror of the photographer as it is the subject.
One may have a blazing hearth in one's soul and yet no one ever came to sit by it. Passers-by see only a wisp of smoke from the chimney and continue on their way.
I hope to depart in no other way than looking back with love and wistfulness and thinking, oh paintings that I would have made..
How rich art is; if one can only remember what one has seen, one is never without food for thought or truly lonely, never alone.
There is but one Paris and however hard living may be here, and if it became worse and harder even—the French air clears up the brain and does good—a world of good.
My emotional and intellectual response to Hiroshima was that the question of the social responsibility of a journalist was posed with greater urgency than ever.
Never have I found the limits of the photographic potential. Every horizon, upon being reached, reveals another beckoning in the distance. Always, I am on the threshold.
High Maintenance; I don’t like to live in place that snows a lot, albeit I’d love to visit one. I won’t marry a super model, albeit date one.
It takes between three and six hours to make each snowball, depending on snow quality. Wet snow is quick to work with but also quick to thaw, which can lead to a tense journey to the cold store.
Look, we're all saddled with things that make us better or worse. This world is a crazy place, and I've chosen to make my work about that insanity.
I want people to be drawn into the space of the work. And a lot of people are like me in that they have relatively short attention spans. So I shoot for the window of opportunity.
As a painter today you have to work without that essential platform. But if one does not deceive oneself and accepts this lack of certainty, other things may come into play.
You can't do a machine without knowing something about how it's going to work. As for the romantics, the costumes bored me and I don't enjoy doing period clothes.
A lot of my work is about what's abstract and what's pictorial. Is it bubblegum, or is it an abstract painting using bubblegum? The energy comes from walking that line and watching things dip this way and that.
People always say that my work is sensational or shocking but there are truly shocking things you could do, and my sculptures don't go anywhere near that.
I was always painting when I was a kid. But then when I handled a camera when I was 17, that was it for me. I loved photography. I would work 4 or 5 hours a day. It was like a calling.
What moves those of genius, what inspires their work is not new ideas, but their obsession with the idea that what has already been said is still not enough.
I find in working always the disturbing intrusion of elements not a part of my most interested vision, and the inevitable obliteration and replacement of this vision by the work itself as it proceeds.
I don't look at the work of my contemporaries very much; I tend to look at pictures by dead artists. It's much easier to get near their paintings.
