“This is before the Internet and I was living in an isolated place, so access to ‘culture’ was quite limited but I fortunately did have the photography magazines my parents were buying as well as the radio shows I would try to tune into from the countryside to copy the music on tapes…” BF: […]
“…What is also interesting is that the book allows us to comprehend the ideological point of view of its author, something that is not detectable in the image itself”.
“It is true that he made images at a distance, at arms length as it were, but there is a considerable, rather a palpable feeling in the images that Heath is almost placing himself next to his subject”.
“One form of defense from this snobbism was to create a sort of puritanism within photography – a little village kind of mentality. Our things, our games. Let’s not engage with the outer world as they are mean to us.”
“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.”
“The huge and quite exaggerated size of his signatures, the mushrooming of his stamps with the clear mention of the copyright “by G. Fieret” render apparent Fieret’s excessive need for recognition. Those are also signs of some sort of defensive strategy from a legal point of view – Fieret always felt threatened by the idea of being stolen or plagiarized”
“You have to be prepared to look in the ‘low’ places in our visual culture as well as the ‘high’. You have to be a rag picker as much as a connoisseur”.