A Quote by Elizabeth Neel
I see my work as having a relationship to the visual world, not just some emotive residue of my feelings. It relates to something that exists, or might exist, rather than a transcendent mental state or something like that.
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I almost feel like there's some kind of connection that I'm having trouble putting in to words, in the same sense that I'm learning things from my children still. I think, just like any relationship, if I choose to become twisted and bitter it can be a source of distress or discomfort. But I think I've come to terms with the fact that I would prefer to see it as a gift. And I would prefer to see it as something that empowers me rather than something that diminishes me in some way.
If you're going to be a visual artist, then there has to be something in the work that accounts for the possibility of the invisible, the opposite of the visual experience. That's why it's not like a table or a car or something. I think that that might even be hard for people because most of our visual experiences are of tables. It has no business being anything else but a table. But a painting or a sculpture really exists somewhere between itself, what it is, and what it is not-you know, the very thing. And how the artist engineers or manages that is the question.
I think everyone at some point comes up against a wall. Curiously, though, if you continue working, you might readdress that idea from another direction. If you didn't try something, you'd never have anything; if you didn't make an attempt to make the work, it wouldn't exist. There have been times when I could not work, and I would just go and sit down in the studio and wait to see what might happen. You can't always just go and take an exotic trip and come back and make something.
Opportunities may come along for you to convert something -something that exists into something that didn't yet. That might be the beginning of it. Sometimes you just want to do things your way, want to see for yourself what lies behind the misty curtain. It's not like you see songs approaching and invite them in. It's not that easy. You want to write songs that are bigger than life. You want to say something about strange things that have happened to you, strange things you have seen. You have to know and understand something and then go past the vernacular.
I consider my work non-objective and I think abstract is an abstraction of something, like a landscape. Abstraction means something is abstracted. It relates to something. Non-objective relates to nothing. It has no object.
Increasingly, the work I'm doing is in service to an idea rather than just to see what something looks like photographed. I'm trying to explore how I feel about something through photography.
I was trying to match my mental image of the world, rather than the world itself, and mental images of objects aren't full of detail. If you think house, you're going to get something very general... Dropping detail made the photographs more general, like mental images.
My favorite type of photography - apart from fashion photography - is journalism, which in a way documents something that exists in a very precise moment, that didnt exist in a moment before and will not exist ever again. This has influenced my work a lot - I usually try to make my images look like they just exist, like no effort was put into it.
If at noon you sit down and there's just silence or blank tape, in an hour if you have a song, that didn't exist an hour ago. Now it exists and it might exist for a long time. There's something empowering about that.
That that which is neither true nor truthlike does not exist. Now, whatever exists, exists otherwise in something else than it exists in itself.
If you stick with a vision, it might not all work, but some of it will be absolute genius. To me, 15 minutes worth of absolute genius in a film is so much better than two hours of mediocrity. I would rather pay to see something different like that.
Don't settle for something that's not great. Don't feel like having a relationship that is not serving your needs is more important than having a relationship with yourself.
...the right to free expression is something one seizes, not something one is given.... if it does exist, it exists to be used against the established order.... There is absolute opposition between the artist and the state.
I actually take images of things and put them up around the wall and in a room. I set a room aside. It might be colors, it might be animals, or energy and words. And I'll just leave it there, so it begins to work on my subconscious when I think about the character. Which gives me some latitude to be really flexible and spontaneous but within the context of the character and the world of the character without having to think about it. Or I'll look at something or read something and let it work on my subconscious mind.
Think about it: you've already related it down to something that somebody else can understand. If art relates to something - it's like Picasso, it's like Mondrian - it's not. Art's supposed to be what it is. Using a reference of art history might help for some kind of sales, but it doesn't really help anybody. Art is what it is; it cannot be footnoted, until it enters the world. Then it has a history. Then the footnotes are the history, not the explanation.
Everybody can do something toward creating in his own environment kindly feelings rather than anger, reasonableness rather than hysteria, happiness rather than misery.
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