Some people must go to extremes to get the world in balance for themselves. Some can’t bear bright lights, so wherever they go they search for the dark; they turn the lights down, anything to sustain some level of comfort.
I never paid much attention to being Jewish when I was a kid. In fact, I’d say my religion was more surfing than Judaism – that’s what I spent most of my time doing.
It’s very difficult, I think, for people to be around you when you’re getting lots of attention. It’s very difficult for young people to understand what that’s about when people start treating you differently when you’ve been doing the same thing you were doing the day before.
I think when somebody’s painting they don’t necessarily… I’m not illustrating what I know. I’m mapping out, like topographically, some terrain I am satisfied with, how awkward that mark is.
You know, painting has given me a lot of freedom, because for some reason, I’ve been able to paint things, organize things in a way that I see that don’t have any buffers or compromises in them.
This camera works like photosynthesis. It is as if you were Xeroxing your own face. The pictures have such physicality: their surface is like fine leather, stained from chemicals. Each one has a body and is more than an image.
My early paintings weren’t that good – I was very influenced by Francis Bacon. But there was a kind of intensity there. And however influenced they may have been by other people, even my earliest paintings were recognisably my own.
I wanted to make pictures where you would not know who took them. I also bring the present into the past.
I think that truth is stranger than fiction, and it’s nice to know the people you’re making a movie about.
Because I’m not doing it for the money, I’m doing it because I feel like that story needs to be told or clarified, or something needs to be shown about that.