A Quote by Catherine Opie
When we were kids, growing up in the sixties, the only images we had of ourselves were either still photographs or 8mm movies.... Now we have video, digital cameras, MP3s, and a million other ways to document ourselves. But the still photograph continues to hold a sense of mystery and awe to me.
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When we were growing up we were all asked to accept ourselves as British citizens, and I still hold on to this idea that multicultural Britain is possible.
The main reason I went to digital was because I got time-lapse, video, and still images all in one camera. Having a minimal amount of gear is really important for someone who wants to walk around. That allowed me to have this flexibility to document things in different ways.
Of course you want to keep making good records, but I think there were certain aspects to the indie rock situation at that point where we were pushing the envelope a little bit too far. We weren't happy with the distribution we were getting, and a few other things. So for a lot of ways it made sense for us to jump to a major label right then, and it made sense in terms of challenging ourselves to put ourselves in new situations.
I've been collecting photographs since I don't know when, for a long time, for different reasons. You can find them on eBay and when we were browsing through the shops there were images that attracted me. These are all historical images because these days they're all digital. They don't exist anymore.
Animals see a video of the world. If an animal were only to see still images, how would its vision develop? Neuroscientists have run experiments in cats in a dark environment with a strobe so it can only see still images - and those cats' visual systems actually underdevelop. So motion is important, but what is the algorithm?
These boys, now, were living as we'd been living then, they were growing up with a rush and their heads bumped abruptly against the low ceiling of their actual possibilities. They were filled with rage. All they really knew were two darknesses, the darkness of their lives, which were now closing in on them, and the darkness of the movies, which had blinded them to that other darkness, and in which they now, vindictively, dreamed, at once more together than they were at any other time, and more alone.
People have come up and told me they were WCW fans from the early '90s, or they were watching my work in FCW when I first started in the late '80s, and they'll spit out a match of mine that they still remember. I stand there in awe, shocked that someone still remembers.
I was spoiled growing up in the 1970s because magazines were publishing the photographs of Helmut Newton and Guy Bourdin without compromise. You really felt that sense of freedom through their images.
In the sixties, the recycling of pop culture turning it into Pop art and camp had its own satirical zest. Now we're into a different kind of recycling. Moviemakers give movies of the past an authority that those movies didn't have; they inflate images that may never have compelled belief, images that were no more than shorthand gestures and they use them not as larger-than-life jokes but as altars.
Oh gosh, well, you know, growing up in the '70s being a young boy there, you know, there were still exploitation movies, where, you know, were, you know, still opened up every week and, you know, played - sometimes they would play it at the local, you know, mall theater.
I've always painted or drawn pictures or taken still photographs; now I shoot movies. It's just about making images, really.
My parents were very young when they had me. They were still growing up and learning themselves. They did the best they could, but my mom and dad split up when I was little... So that kind of made me stronger.
I don't know whether we think in moving images or whether we think in still images. I have a suspicion that on our hard drive, our series within our brains, [exist] still photographs of very important moments in our lives. ... That we think in terms of still images and that what the photography is doing is making direct contact with the human hard drive and recording for all time a sense of what happened.
Every digital video player - RealPlayer, Windows Media Player, Vevo, Hulu, YouTube - all of them had different ways of getting you the video, but it was still always the same series of rectangles. The format never changed.
There was a reason these boys were still alive, though. Something made them stronger than the other kids, the ones who had died in the early days, who had simply lain down and given up, unable to cope with the terrible things that were happening in the world. These boys were survivors. The will to live was stronger than any other feelings.
Most of the movies I saw growing up were viewed as totally disposable, fine for quick consumption, but they have survived 50 years and are still growing.
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