All of those a requickly made decisions. The fact that you can see the images right away in a funny way makes the whole relationship more casual. I don’t want a casual relationship with my subject.
BILL HENSONWhen you shoot on film, you don’t know whether you’ve got it or not until you get the film processed, and so it changes the relationship we have with the subject whether it’s a landscape or a person in a so-called controlled environment in a chair in a studio in front of you.
More Bill Henson Quotes
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Most of life is grey, with a little tiny bit of black and white.
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It was the dreamscape of the suburbs that interested me.
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On practical level I can’t pick up the camera until I think I know what I want. I don’t wander around. It’s almost impossible for me to pick up a camera… it’s really hard.
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I have always found the suburbs very beautiful – the light, the change of seasons and so on. I am not so interested in the political dimensions of these things.
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When you go to a great concert something that happens is there is a deep sense of communality and connectedness one to another – as though we are all looking to eachother and saying yeah, we get it, we’re all on one page.
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You spend your whole life trapped inside your body. Everything you know about the world comes to you through your body.
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There are no inherent limitations to the medium. There are just differences.
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No medium is more limited than any other. It’s what a person does with it. We could talk about the differences between music and literature and photography, sure, but it really comes down to what a person does.
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There’s something about the processional nature of the architecture, of the rooms connecting rooms. It’s just breathtaking.
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I didn’t have any witticisms to land on suburbia. I was really just interested in how beautiful it was. I felt it was like a dreamscape and once I understood that was how I needed to approach it the dream started to expand in unusual ways.
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What happens with experiences that really move us deeply, that really effect us? They make the world new again. What it does is it heightens our sense of mortality.
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When you shoot on film, you don’t know whether you’ve got it or not until you get the film processed, and so it changes the relationship we have with the subject whether it’s a landscape or a person in a so-called controlled environment in a chair in a studio in front of you.
BILL HENSON -
Most of life is grey, with a little tiny bit of black and white. We’re always subject to what I call the compression industry, which is an attempt to compress a million shades of grey with a little bit of black and white to just a hundred, or to ten, or to one!
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You have the literalness of a glass on a table – and at the same time of that evidential authority that you can’t get around, there is the possibility of universalizing the subject – of getting the whole world into the picture.
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In every form of art, you really want the experience of the images to transcend the medium, for the medium to disappear into the greater experience of viewing the work. So that you forget you are looking at a painting, or a photograph.
BILL HENSON