I admire other artists that work in very strict patterns, but it’s interesting to note how that strictness or seriality is often associated with seriousness in our culture, with more thought and more depth. I find it more challenging to try to reconcile all those different fields that constitute experience as I live it day to day.
WT: I like the idea of the photograph as something that joins me to the world, that connects me to others, that I can share. I can get in touch with somebody when they recognize a feeling: “Oh, I felt like that before. I remember jeans hanging on the banister, even though I’ve never seen that exact pair. I’ve seen my oranges on a windowsill.” It’s the sense that “I’m not alone.” That’s the driving force behind sharing these things—that I want to find connections in people. I believe that every thought and idea has to be somehow rendered through personal experience, and then generalized.
WT: I certainly feel a responsibility when using my power to utilize media of any sort, such as an exhibition. I’ve always felt very strongly that whatever I do involves using a position of privilege and power, because I’m the one that’s talking. But I’ve also thought that my point of view deserved to be heard, because I always felt that neither I nor the way that I look at the world was adequately represented. That of course changes, and we’re now living in a completely different image world than we were ten years ago.