1. Some of your works seem to dabble in shock value (and your bike is literally a shocker!). Are you interested in shock value as a form of expression in its own right?
I'd say i'm not so much into shock, but definitely discovery or realization (which i think is perhaps a slower shock?) The process leading up to can be very slow yet, once the "discovery" has been made, the "ah ha!" moment... i'm into that process.
2. How important is experimentation to your process? Do you start with a clear objective or do your ideas develop out of a particular kind of aesthetic inquiry?
i usually start with a very unresolved picture or sound in my head... experimentation, whether it's working things out in my head, on paper, process or production, is usually necessary to manifest the work.
3. You have an interest in electricity, lasers, and sound devices. Do you see these in relation to your interest in the camera/photography or are these completely separate disciplines for you?
- i feel that the camera is just a tool, and i'd like to have as many tools in my toolbox as possible. Now i'm not very good with too many, i think i can "handle" a camera fairly well, certain sound tools, as well.
4. Your process is very physical and has a scientific approach, does science inform your concepts or is it just a way to make your work?
Sometimes a scientific example is what inspires a piece in me... and i like taking something that i learned in a "scientific" arena (nothing i've used/learned is exactly high-science) and using it in the "fine art" arena. I feel sort of subversive.
5. Are interactive elements important for your work? Why?
What is the role of participation in your work?
yes, interactive, audience participation, very important. i feel that all art has interactive/participation elements, the viewer has to enter intoa dialogue, usually visual, with the piece to read it. I'd like to try to expand that dialogue into as many senses as possible to broaden the bandwidth and impact of the communication.
6. What artist/artists have been most influential in your formation as an artist? Are there any guilty pleasures- artists that you might be embarrassed to admit you like in art school?
i feel that a guilty pleasure is definitely bill Viola... somehow, i feel like saying I like his work is like saying I like Kincaid's work. I'm working on not feeling guilt anymore, so soon it won't be a problem.
7. Your seascape photographs seem to have involved a systematic approach. Are certain rules of approach a necessary ingredient in your creative production?
the seascapes are systematic in the sense that I've come to be pretty accurate guessing the exposure times, and that i've also grown to be aware of a place when it's calling out to me. That's the rule... the place needs to capture me, there should be a serenity, humbling presence of nature... that's what i'm drawn to when i end up producing those shots.
8. Humor seems to play a role in some of your works. What is the role of humor in your work? What kind of humor do you prefer in artworks?
Talk about the inherent humor in your work. What type of humor is it if you could categorize it and why do you use it.
- Your art is reactionary in many ways to cultural events or ideas, what events do you find yourself typically reacting to and why?
I like social-policital humor the most... humor that talks about people and their response to something... sarcasm is one of the common types. subversion and carefully used absurdity also attract me. Not into slapstick so much. Humor that preys on people's fears is one of my favorite kinds. Just saw a handbag that has God Hates Bags printed on the said. Very clever... someone would have to be slightly up to speed on things to get the humor, and i appreciate that. people should be up to speed. and then the act of trying to stay up to speed is another topic all together.
9. What role does sound play in your work?
i love sound, and even more so music. I like to think of photo as light organized by time, and music as sound organized by time. What i'm MOST interested in is that TIME... the distance traveled... sound and music touch on similar nerves as photo does for me... but in very different ways. hard to verbalize, but i find myself swinging between the two. Music most often inspires me much more than any visual art. And i feel in music... I'm sure many people do... a place, feeling, memory, they all have soundtracks that spring to mind and inform my work.
10. Some of your work involves a homo eroticism, what role does sexuality play in your work ?
i think i like to make work that again, is social-political... i agree with whoever said all art is political. and people are sticky, sexual beings... i like tapping (no pun intended) into that... people that shy away from sex and sensuality surprise me... how do they think they got here? i enjoy that celebrating sex seems to be polarizing... some people love to celebrate it, and others are more prudish about it. the homo eroticism stems from my narcissism, and also my gay fantasies. There's a deep history of prejudice and discrimination against homosexuals which i respect, but am not informed enough to talk about... so i carefully celebrate my individual perspective on homosexuality, which tends to be playful and flirtacious.
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