I have a profound passion for the act of flying. It's very freeing, with an intense physicality, but it also gives an Olympian, god's-eye view, which fuels a larger cerebral and structural analysis.

I have a profound passion for the act of flying. It's very freeing, with an intense physicality, but it also gives an Olympian, god's-eye view, which fuels a larger cerebral and structural analysis.

What better way to actually deal with L.A. than to get above it and engage with the horizontality and scale of the basin itself?

I struggle against photography. I struggle against the fact that it is silent, that it is just a piece of paper on the wall, often presented in a tedious white matt frame.

The pilot says, "Where do you want to go?" and that's always a rather existential question, because naturally I think a bit about where I want to go, but of course I can't really know where I want to go, in advance. I know it when I see it.

Los Angeles functions for me as a kind of holy template. It is postwar America.

The representational-image urge is actually a kind of heightened perception, and I don't stop to think. I don't freeze up - it's actually a kind of letting-go. It's like dancing. At a certain point it's conscious, unconscious, everything is kind of coming together.