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Question 10: Are there recurring themes or subjects in your art?


Now, that’s funny; last time I had an exhibition someone finally put the finger on this because I had not mentioned it openly, I hadn’t necessarily thought that it was a part of what I was doing. But she said: I look at your work and you’re obsessed with measuring. And I started thinking back, looking at my old works: all of the pieces I’ve made have one element… earlier on I was talking about comparisons, well this comparison has something to do with the scale of things. So I can have a small thing that’s been enormously enlarged and then an enormous thing that’s been reduced to a tiny size and I’m trying to compare those two things. I’m making relationships between the scale of things. It’s now become a conscious thing, now ever since the last exhibition, ever since that person told me about it, it’s a conscious thing. Usually my reaction, when I become aware of something of that nature is to stop doing it. Because, by the time we become aware of something that we used to do unconsciously, it loses its appeal. But now I am doing work that of course has lots to do with comparisons of scale and the idea of measurements. That’s one of the things that has always transpired in my work. Scale, once again, is a matter of scale but it’s a human scale. The human body has always been a part of my work. Of course, part of it is a curiosity of the libidinal sort. The more I read on photography the more I know that a part of the psychological make-up of the photographer is to be a scopophile, to be a voyeur and the photographers I tend to admire are photographers who didn’t let themselves get intimidated by that. And I look, my work has had quite a bit of an erotic side, maybe I was hiding it, maybe my trying to express it is so flagrant that it was becoming a joke but it’s always been in there. It’s about two things: measuring the human scale, but also the human scale in terms of psychological drama that we experience every day, and creating the relationship between those two things. Naturally, as far as I am concerned, that’s expressed through scenery, I just can’t see another way to do it. So, these three elements have always had their degree of importance in my work and are still there. Sometimes, some are in the background, like the idea of the measurement of scales, of benchmarks. Now that I’m aware of this stuff I get the feeling that I’m about to start repressing it cause it works better repressed as opposed to it becoming a concept. I’m beginning to think about putting mathematical formulas on my images and I think it might be too much of a drastic change; it might be like doing things that are too obvious. There was some subtle stuff that used to work perfectly in the past, so it’ll be interesting to see what happens. But I find that often enough, when we become aware of things that are part of our work, what you need to do is to repress them; feels like it must be unconscious, we shouldn’t create things that are too common. Because that’s where we do the psychological work. It’s when we don’t think about what we’re doing that we’re really being ourselves. So, the things I’m very aware of when I’m doing my work are like curtains, I think it’s smoke, mirrors, that’s the magic of making images. But what it really is, that’s not for me to judge.