I try always to intimate with the world… with everything I can, to feel love for it, or interest in it. To be intimate you have to open yourself, to be fearless, to trust what is around you, animate and inanimate. Then you start to change the scale of things, of the public and private.

I try always to intimate with the world… with everything I can, to feel love for it, or interest in it. To be intimate you have to open yourself, to be fearless, to trust what is around you, animate and inanimate. Then you start to change the scale of things, of the public and private.

What I'm after is the liquidity of things, how one things leads you on to the rest... The works are about concentration, intention, and paths of thought: the flow of totality in our perception, the fragmentation of the river of phenomenon.

My photographs are not just about the instant of movement you capture in the camera. It's much more total, about constant movement that became static.

I admire the artists that work everyday to attest things for themselves... In the act of transforming the objects of the everyday they transform the passage of time and analyze the economics and politics of the instruments of living.

... what is important is not so much what people see in the gallery or the museum, but what people see after looking at these things, how they confront reality again. Really great art regenerates the perception of reality; the reality becomes richer, better or not, just different.

We normally consider stability to be the constant in life and accidents to be the exception, but it's exactly the opposite. In reality, the accident is the rule and stability is the exception.