A Quote by John Sexton

So to me it's very similar in terms of trying to distill within the image, those elements that are gonna form, hopefully, a compelling visual statement. — © John Sexton
So to me it's very similar in terms of trying to distill within the image, those elements that are gonna form, hopefully, a compelling visual statement.
Usually in theater, the visual repeats the verbal. The visual dwindles into decoration. But I think with my eyes. For me, the visual is not an afterthought, not an illustration of the text. If it says the same thing as the words, why look? The visual must be so compelling that a deaf man would sit though the performance fascinated.
My favourite stuff is visual, and I always want to work with visual artwork. I think it depends on the person, but for me, photographs of an image of something interesting or inspiring is worth a lot more than words to me. I think every concept I've come up with and turned into films or that will be hopefully become a film comes from images first.
For example, in painting the form arises from abstract elements of line and color, while in cinema the material concreteness of the image within the frame presents - as an element - the greatest difficulty in manipulation.
I feel a disparity between my life in India within the home and my life outside the home - my life within public and private space. In terms of here and there, there were some differences, but New York and India were very different when I was growing up in the '80s. Definitely in terms of the visual and popular culture I encountered within my home - that was very different from the complete lack of representation I saw of South Asian culture outside of that space.
What ends up happening is people form images and the image they form is, in some ways, what they want it to be. The idea of trying to correct the image is something I'm not interested in doing.
You're gonna notice me when I come in. I'm gonna make a statement without opening my mouth, and when I leave, you're gonna remember that.
In the editing process, I delete what I do not want to use, move what remains around if necessary and add elements that I feel will make my visual statement as clear and understandable as possible.
I think being raised within a Mexican Catholic family made magical realism a very natural part of who I am as a person and as a writer. My parents always told us great stories that often had magical elements and roots within Mexican folklore. Also, I remember my father reading a book to me, when I was very young, about the lives of saints. Those were crazy scary stories! Maybe he was trying to scare me into being a good person. In the end, magical realism offers me untethered freedom to explore human frailty and the way we clumsily cobble together our lives on this strange planet.
Our offices across the globe may not be very similar in terms of the way they look, but they are very similar culturally.
As far as stimulus from the visual arts specifically, there is today in most of us a visual appetite that is hungry, that is acutely undernourished. One might go so far as to say that Protestants in particular suffer from a form of visual anorexia. It is not that there is a lack of visual stimuli, but rather a lack of wholesomeness of form and content amidst the all-pervasive sensory overload.
I think [guys and girls] are often very similar, emotionally. Guys put on the façade that everything is cool, but deep down, I think they have some of the similar problems with image, popularity and fitting in - finding a girl and being loved and all those types of problems.
I had a lot of fantasies about being an architect when I was young, and I think I still do. On a visceral level, I'm very intellectually and emotionally attracted to acknowledging how space functions in our lives, both in terms of pleasure and in terms of control, and in terms of all those factors that form a life. I'm also very anxious and maybe repulsed by how superficial that whole dialogue can become.
I'm not trying to denounce the visual past. It just seems impossible to me to be able to keep making the same image that I made six years ago.
Fashion is an archetype: you're trying to build a silhouette, and that is very similar to building up a building because you're trying to create a new structure, a new proportion, a new shape, and you're using a material to cut which is a bit mathematical. That idea of finding something new in terms of proportion is something that drives me.
For women... bras, panties, bathing suits, and other stereotypical gear are visual reminders of a commercial, idealized feminine image that our real and diverse female bodies can't possibly fit. Without these visual references, each individual woman's body demands to be accepted on its own terms. We stop being comparatives. We begin to be unique.
Real motivation is that drive from within: You know where you are going because you have a compelling image inside, not a travel poster on the wall.
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