I didn't see painters doing paintings of glassware and glass shelves or sand dunes and receding snow fences. Why does that interest photographers and not artists?

Ideally I would like the work to be a hybrid between painting and photography.

Look at the subject as if you have never seen it before. Examine it from every side. Draw its outline with your eyes or in the air with your hands, and saturate yourself with it.

That should be the goal for all art, to be as simple as a flashcard.

If you're smart, you abandon the things that didn't work out so well, and you enlarge upon the things that seem to be successful.

The idea of vaudeville clowns and court jesters is always to show the flaw, to point out what's not working and why it's not coherent.

What I try to do is reinvigorate strategies and clichés I find in Hollywood movies. At a certain point I had these huge folders, each one classified according to subject matter or genre: people with guns, people kissing, Indians and cowboys falling off horses, getting shot, getting shot with arrows - almost every plot device. Then I cropped the cheap, recycled imagery to give exhausted images new meaning, or at least something other than their original meaning. I'm basically reassembling atoms to give them a meaning that's more au courant.