Interview: Andrea Stultiens & Ebifananyi
“I do not want to represent, full stop. I want to present the outcome of correspondences. And I want those outcomes of correspondences to not be final results but part of potential other correspondences.”
“I do not want to represent, full stop. I want to present the outcome of correspondences. And I want those outcomes of correspondences to not be final results but part of potential other correspondences.”
“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.”
“From my sociological perspective I don’t believe in true science, because science always serves a greater goal”
“I went with Laura looking for gay go-go bars and assisting her to shoot in brothels and demolished hotels, I shot with Daisuke in backstreets at night (he was photographing with some weird infrared hunting device) while Hiroshi was using a document hand-scanner to capture surfaces and the intricacy of bed-sheets, lingerie and curtains, later on we found out he also scanned bodies. I spent the nights with Olivier wandering the dark corners of Chinatown.”
“He accepted his death and was going to show me how it should be done. The last lesson a man can teach his son.”
“To me, The Ramayana is not only about Hinduism, it is about life in the first place. About love, loss, family, honor, success and failure… Things we all experience in our life, no matter your beliefs, religion, etc.”
“I think of the USA as an adolescent country with a made up history and in a constant tantrum to make itself the most important place in the world. I wanted this work to be anti-documentary, if that is even possible, and to stress that things are simple, complicated, entwined and conflicted at the same time”
“I went down there and saw all these little paintings of landscapes, houses, little beautiful scenes. The light on that picture is from reflections of cars going underneath the freeway. The whole roll was faint, faint, faint. And then there was the clown. There are so many places like this, it goes on forever.” On […]
“Luc Sante, an American writer and photographer, who was from Belgium originally, said my pictures look like unexploded bombs, there is so much energy in them. They look quiet, but inside, they are full of energy, that is waiting to explode. So, I think people are feeling there is more than only the image.”
“Everything about the city made me uncomfortable and raised questions: the landscape, the atmosphere, the situation, the agitation, etc. It seemed so imperfect. I wanted to understand this chaos.” To the West, is the Atlantic Ocean and the Americas. Facing East, the huge Sahara Desert. The city of Dakar in Senegal sits in between these […]
“I think the darkness at the periphery of the work also comes from a desire to acknowledge a certain brutality inherent to the history of the western landscape, and to the struggle for survival within it.”
“I think something is amiss or awry with every photograph. What I’ve consistently tried to do is exploit those disjointed qualities and bring them to the surface”