A Quote by Elisa Kreisinger
The idea of recontextualizing images from different eras to express larger ideas about modern times was very exciting to me. That archival aesthetic is the foundation of my filmmaking style.
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The collection under my name is an exciting opportunity to really express my own aesthetic and connect with a very different consumer.
I am myself a professional creator of images, a film-maker. And then there are the images made by the artists I collect, and I have noticed that the images I create are not so very different from theirs. Such images seem to suggest how I feel about being here, on this planet. And maybe that is why it is so exciting to live with images created by other people, images that either conflict with one's own or demonstrate similarities to them.
I think dressing up or down should be a creative experience. Exciting. Fun. For me the key to personal style lies in accessories. I love objects from different worlds, different eras, combined my way. Never uptight, achieving - hopefully - a kind of throwaway chic
My style is a mashup of different eras, but each piece I have makes me feel good about myself. I do have a taste for expensive shoes.
I'm not trying to create an aesthetic that's my own; I'm trying to create a way understanding things through drawing and painting. That's the common thread. Things can look different, but that's not what's important. What's important is the process is the same, the ideas are the same, I'm using the same building blocks, but they're different. The larger framework is the same; it's the pieces that change. For me, it's about these different elements, but you're still fitting them together into sentences, words, paragraphs, and stories.
That is - the use of the subjective camera is an idea that's been around in movies for a long, long time. And it's an idea that was seized on very notably by Sam Fuller and by Alfred Hitchcock in two different very kind of - otherwise very different styles of filmmaking.
Making photographs that dealt with the understanding of who I am as a gay man and dealt with the process of accepting that, and also accepting what I'm into sexually, what sexually arouses me. So I was making these images not necessarily knowing what they were about, but just putting it out there - that mode of thinking or consideration of my own desires, and also the much larger conversation around images that deal with ideas of sexuality and how those images are distributed and then accepted or understood by whoever is viewing those images.
Images also help me find and realise ideas. I look at hundreds of very different, contrasting images and I pinch details from them, rather like people who eat from other people`s plates.
That's what I like about the idea of the aesthetic experience, the idea of both enjoying looking at works of art and how they kind of talk to you, and also the process of making art, getting back to that idea of the aesthetic experience of making art is very important, It's another way of thinking. Instead of just using your brain, you're using your hands to think with. They're different connections, the brain that comes through the fingertips as opposed that comes through the eyes and ears.
I have always said that archival images are images without imagination. They petrify thought and kill any power of evocation.
I began to pick apart our knowledge of Frankenstein and discovered that the public's idea of this myth comes from a million different places... I became committed to recontextualizing it all so it all worked in one story.
Italians don't have a unique style like France or Spain or Germany or the UK, it's different everywhere you go. The style of the girl in Milan is really architectural and modern. In Naples it's a completely different style, it's more dark. I'm sure our style was more precise in the past in the '50s or '60s where everything was very Sophia Loren. It's weird because obviously outside of Italy you think of one country, but when you're in the country you know how different the country is from the north to the center to the south to the island. There are so many differences.
What you have felt and thought will by itself invent a new style, so that when people talk about style they are always a little astonished at the newness of it, because they think that it is only style that they are talking about, when what they are talking about is the attempt to express a new idea with such force that it will have the originality of the thought.It is an awfully lonesome business, and, as you know, I never wanted you to go into it, but if you are going into it at all, I want you to go into it knowing the sort of things that took me years to learn.
Jaws' was the definitive filmmaking turning point for me. It came out in the summer of '75 and I saw it an obsessive 55 times. They even ran a very embarrassing article about me in the local paper, about the weird kid who's seen 'Jaws' 55 times.
My jiu-jitsu style is not a beautiful style. I have very simple submissions. It works, but it's not like Demian Maia or Nick Diaz's very exciting style.
I think it's hard to describe my style in one sentence. It depends on how I'm feeling. Sometimes I'll dress more street; other times, I'll dress more classy. I have so many different ways that I can express myself, so my style is pretty versatile.
