A Quote by Laurie Sheck
Images work on so many different levels. As a writer you feel them, try not to get in their way or narrow them down to anything other or less complex. A writer is a curator of sorts - once you've brought the images together you try to stand at a respectful distance and let them speak for themselves. Try not to mess with their ambiguities and contradictions. They are what they are, irreducible. This is their integrity.
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Others of them employ outward marks ... They style themselves Gnostics. They also possess images, some of them painted and others formed from different kinds of material. They maintain that a likeness of Christ was made by Pilate at that time when Jesus lived among them. They crown these images, and set them up along with the images of the philosophers of the world, such as Pythagoras, Plato, and Aristotle, and the rest. They have also other modes of honoring these images just like the Gentiles.
My films start with images, a few images and a few feelings, and I try to edit them together to see the correspondence between these images and these feelings.
I always see nice images like that but I don't know what to do with them. I guess you share them with someone. Or you write them down in a poem. I had so many of those little images, but I never shared them or wrote any of them down.
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.
When my mother was sick, I found myself needing to put down in my journals all sorts of things - to try to understand them, and, I think, to try to remember them.
As a writer, I try to turn my feelings and experiences into a different form entirely, something that gives me mastery over them and also makes them meaningful to other people.
Take one flower that you like and get lots of them. And don't try to 'arrange' them. It's surprisingly hard to do a flower arrangement the way a florist does one. Instead, bunch them all together or put them in a series of small vases all down the table.
To suffer is one thing; another thing is living with the photographed images of suffering, which does not necessarily strengthen conscience and the ability to be compassionate. It can also corrupt them. Once one has seen such images, one has started down the road of seeing more - and more. Images transfix. Images anesthetize.
When you serve your mother and father it is okay to try to correct them once in a while. But if you see that they are not going to listen to you, keep your respect for them and don't distance yourself from them. Work without complaining.
When people are dying, they call their old enemies and try to forgive them and try to be forgiven by them. They call their old friends and affirm their love for them, as well as detach themselves from them, and they try to get into as free a space as they can so they're really ready to go. They give away all their possessions and are as generous as possible. They give up old hatreds and grudges, and that's a wise intuitive thing, because it's much freer to live like that.
Conducting is intensely social. You work with a hundred people every day. You collaborate, you try to focus their thoughts, you try to give them a concept, you try to inspire them, and it's actually exhausting.
One of the reasons I work serially, but also one of the reasons that I try to claim space in painting, is I'm desperately interested in asking: How can a group of images, or even two images, have meaning together?
The older I get, the one thing I can trust in myself more than anything else is the way I feel about something. When I photograph I try to be as aware of my feelings as I can be to somehow try and get them out of me and onto the film in terms of the way I am responding or seeing the world.
I'm not a writer myself, so I'm forced to try to get what's a sort of an odour or a colour or something I feel in my head from a writer, and that's a... I don't have a recipe for that process. I don't know what it is... it's different every time.
I try not to take people who haven't really thought out what they're doing too seriously. I try not to let them get in the way of what I feel I need to do.
We’re face to face with images all the time in a way that we never have been before... Young people need to understand that not all images are there to be consumed like fast food and then forgotten – we need to educate them to understand the difference between moving images that engage their humanity and their intelligence, and moving images that are just selling them something.
