Quotes

On Fractal Art, Berlin 2000

“On my wanderings, I photograph the surfaces of objects marked by time and weather. On walls or rusty steel doors, I find “fractal images”: colors and forms that look like an abstract painting…”

“Years of global nomadism, along with extensive exploration of contemporary visual criticism, have come together to produce a new technique of capturing the deepest essence of existence…”

“I’m attracted to the texture and structure of weathered man-made objects that I find on my global travels, which include such things as fences in Africa, shipwrecks in Australia, and broken windows in factory hallways…”

“I feel that the process of decay, reclaiming a forgotten object and divorcing it from function in order to form another kind of artifact, reveals the true relationship between man and nature…”

“Using macro-lenses, moving around objects and zooming in and out, I interact with the texture and structure of the weathered surfaces. The speed of the camera as a medium allows me to directly work in three-dimensional space and with the slightest intuition, to encode the entire focal plane with spatial relations of structures and patterns…”

 LA Biennial, 2001

“I believe the significance of my work lies in the science of the method. I think of my approach as converting space into weight and thereby increasing the tactility of the two-dimensional surface. The method is based on understanding how vision constructs space through the sense of touch. This method challenges Clement Greenberg’s and Michael Fried’s view that illusory space has to be eliminated in paintings because of its negating properties in relation to the actual surface of the painting. The method that I developed allows me to use abstract illusory space, but at the same time prevent it from escaping the surface by converting the space into weight.”

 LA Biennial, 2001

“One can escape object-related thinking by observing nature, but when doing this we must forget the names of the things we observe. We must forget about ridges, creeks, trees and rocks. It is the “Pure Relatation of Weight”, the abstract pattern within a landscape, that we must learn to see and feel to get to the “Quiete Place”.

911 Memorial

“A memorial at all times has to remind us what it stands for and make us remember what inspired it; a memorial has to point to the future and needs to be a seed from which new life can grow. A memorial just for its own sake is a lost cause, standing in vain.”

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