It therefore should be possible for even the photographer - just as for the creative poet or painter - to use the object as a stepping stone to a realm of meaning completely beyond itself.

It therefore should be possible for even the photographer - just as for the creative poet or painter - to use the object as a stepping stone to a realm of meaning completely beyond itself.

Let us see as steadily and completely as possible the realities of our age: the wasted lives, the scattered and misused resources (human and material), the steel magic of the misdirected machinery, the mad clockwork tragedy of it all.

I have approached the buildings as psychological and poetic manifestations - rather than from the more technical viewpoints of the architect and historian (which mostly miss the living spirit behind the forms).

The mystery of light [and] the enigma of time form the twin pivots around which all my work revolves. In addition... my work attempts to create a mythology for our contemporary world.

... dissatisfaction with one's self and dissatisfaction with the world - is necessary - it is one of the prime things that keeps the artist going on - that drives him - happiness, as such, must come in between times, as best it can.

As a whole, I am interested in the symbolic, rather than the literal use of the camera.