“It is this sand-blasted speculation or rather en-spectralization, the ghosting and subsequent miasma of capitalism as it exists in the economy of images that we regard as relative at the very least-namely the aptitude to regard photography if not truth, certainly as plausibly disagreeable in a shared system of acknowledged solutions for knowledge-based communication”
“I tell myself that I am a limitless being until I realize my left shoe is untied and I sit on the curb to attend to its misshapen spaghetti-form of inconsequential circumstance. What point these shoes”?
“One does not have to be born of heterogametic sex to be reminded of what erosion means to the limestone cliffs, nor to extrapolate what a spring without rain posits for a summer’s cooling pool.”
“Archetypal symbols from the human subconscious dominate my imagery.”
“American Interiors feels at a quick glance like a foray into a twisted maneuver in which the typological studies of the Bechers have morphed into a Google Dream version of a nightmare that Hunter S. Thompson would have if he were around to see what is happening in the present field of American anthropology.”
“I discovered an enormous story full of ramifications, a contemporary tale of corporate impunity, a mafia-like way of doing business, lies that affected and are affecting thousands of people and communities around the world.”
“Everything is unknown, sifted through bit by byte and re-assembled for the purpose of defining the in insalubrious possibility of chance and enforced meaning- Nothing exists, Everything exists if harvested and re-distributed credibly and with rugged vigor”
“Upon opening the package a feather and an anvil fell onto my groin. I have carried them since like a pebble in my shoe that I refuse to set aside or extract”
“The utter faux-familiarity of these rooms, from the plastic painting on the wall to the synthetic bed spread made from all manner of recycled and threaded nylon from fish net stockings to actual fish netting makes one queasy”
“It’s always the differences that inspire. We rarely document the “familiar outside”
“In a sense I was trying to complete a circle: I travelled to the neighbourhoods that had some bearing on the childhood development of my art-heroes and consequently on the art they made as adults, and then I tried to photograph these places through the ‘afterimage’ of the artistic influences these works had imparted on me”
“The savior of technological disgrace is error and possibly humor.”