“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
"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
“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”
“the watchmaker must duly take an ever-present duty to keep the machinations from stalling and presenting the case for non-linearity”
“It is a stasis reflection. At once it is full of possibility, movement, and utilitarianism. It exists in its own chaos and laterality”
"Agamben’s ‘bare life’ is visualized through the refugees and migrants, desperate lives in search of a better future and for us, a potential vision of a dystopia where the extreme
“Finally, a "Eureka Moment"- the image I "took" belongs to Martin Parr, the Godfather of Gaudy. I know this not because I have any of his books or any desire
“In my late 30’s and cynical beyond belief, I actually find this little book creating a new space or affection for the idea of the 60’s and 70’s that I
"You might lose fingers to ice skates and the black girl sitting atop the white wedding cake is not by mistake."
I wanted very badly to rally the troop of self against THE MACHINE...
Bertien van Mannen’s “Beyond Maps and Atlases” is a composition of dis-rhythmic proportion. Her investigation into the Irish landscape is not so much depressing as it alludes to the bittersweet.
"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