The stillness of my body during the production of the work is a silent protest. The insistence of my body and its resistance to movement and nature are both reflected in my work. I’m fighting for freedom and for the social status of the artist with my body.
“ To do a photograph that was interesting and kept your eye moving throughout the frame, one of the two ways is to have many layers, in other words, the subject in the front, people in the back, people in the further back to keep your eye moving, and the other way is to look for reflections so that it makes more complex photographs. Reflections create a sense of what’s going on here and the viewer becomes more engaged with the photographs.”
Context is important when we look at and understand visual images. When we look at a photograph, the images next to it will influence it’s meaning and how we interpret it. I am intrigued with creating a mood and establishing a rhythm for the viewer but also leaving things open for interpretation and possibility.
You've got to be shameless, and by that I don't mean in terms of promoting yourself. You've got to be shameless about the way in which you make art.
Gender variant is a term by people whose gender identity and expression doesn’t fit the expectations of male or female, or our traditional binary gender system. These identities are used by people who don’t solely identify with either male or female.
" When people get older, their skin gets thinner. So you see them stronger in the image. I like that."
I am interested in the genius loci, the sense of place. I try to learn in a way in which place can be apt to imagine or understand the future. I used helicopters and an eighty megapixel camera. In order to get the permit to fly over the Alps, I had to use Alpine Rescue Team helicopters.
"I minored in psychology and I was very interested in “unconscious flow”, which is when artists become so focused on the process of making work that it almost becomes an unconscious act. This consumption of focus on the photograph helps take away the focus on the panic.
If between humans and animalsexists what John Berger has once called “an abyss of non-comprehension”, animal photography — with all of its high-end gadgets and colonial assumptions — has not always rushed to bridge that abyss.
David Hockney, child of the British pop art movement and a particular strand of postmodernism, has never stuck exclusively to one medium. While his notoriously playful, almost childlike portraits and self-portraits—mostly done in acrylic, with a few exceptions—may be the images that characterize...
There was a 2 year gap after undergrad, which was great because I got to travel and work, make art, but also live, and I started making objects again. I was making small films but I started making sculptures again, and thats what led me into graduate school.