Things change and work changes. Right now I like the idea of enveloping a space and getting messages across that connect to the world in ways that seem familiar but are different.
I have frequently said, and I will repeat again, in the manner of any well-meaning seriality, that I’m interested in mixing the ingratiation of wishful thinking with the criticality of knowing better.
I think there are lots of ways to make good work. You can throw big bucks at a project and make what some would call crap, or you can work very modestly with eloquently moving results.
I’m trying to engage issues of power and sexuality and money and life and death and power. Power is the most free-flowing element in society, maybe next to money, but in fact they both motor each other.
Photography has saturated us as spectators from its inception amidst a mingling of laboratorial pursuits and magic acts to its current status as propagator of convention, cultural commodity, and global hobby.
If most American cities are about the consumption of culture, Los Angeles and New York are about the production of culture – not only national culture but global culture.
I’d always been a news junkie, always read lots of newspapers and watched the Sunday morning news shows on TV and felt strongly about issues of power, control, sexuality and race.
Architecture is my first love, if you want to talk about what moves me… the ordering of space, the visual pleasure, architecture’s power to construct our days and nights.
I think that every so-called history book and film biography should be prefaced by the statement that what follows is the author’s rendition of events and circumstances.
I think people have to set up little battles. They have to demonize people whom they disagree with or feel threatened by. But it’s the ideological framing of the debate that scares me.
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