Dr. Lewis Jaffe: Just me and my little knife! Snip snip - slice slice... can you believe it?
We are only beginning to learn what to say in a photograph. The world we live in is a succession of fleeting moments, any one of which might say something significant.
I am a big believer in visualization. I run through my races mentally so that I feel even more prepared.
My preference for clear structures is the result of my desire - perhaps illusory - to keep track of things and maintain my grip on the world.
The first stone was just tried in the spirit of experimentation. The opening of the stone was far more interesting than the drawing that I had done on it.
The stones tear like flesh, rather than breaking. Although what happens is violent, it is a violence that is in stone. A tear is more unnerving than a break.
The hardened mass of liquid stones had much stronger qualities than those which had simply torn. The skin remained a recognisable part of the molten stone.
Stones are checked every so often to see if any have split or at worst exploded. An explosion can leave debris in the elements so the firing has to be abandoned.
Some of the snowballs have a kind of animal energy. Not just because of the materials inside them, but in the way that they appear caged, captured.
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.
Warhol was the ultimate voyeur, constantly observing people through the lens. He watched and listened, but did not participate. Behind the camera, Warhol was in control.
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.
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.
