[Artist, b. 1937, Bradford, England, lives in Bridlington, Yorkshire; London; and Los Angeles.]
The camera can’t see space. It sees surfaces. People see space, which is much more interesting.
If we are to change our world view, images have to change. The artist now has a very important job to do. He’s not a little peripheral figure entertaining rich people, he’s really needed.
I believe that the very process of looking can make a thing beautiful.
I came to Los Angeles for two reasons: The first was a photo by Julius Shulman of Case Study House #21, and the other was [Atheletic Model Guildʼs]ʼs Physique Pictorial.
I mean, photography is all right if you don’t mind looking at the world from the point of view of a paralyzed cyclops—for a split second. But that's not what it’s like to live in the world, or to convey the experience of living in the world.
I’ve finally figured out what’s wrong with photography. It’s a one-eyed man looking through a little hole. Now, how much reality can there be in that?
Computer manipulation means that it’s no longer possible to believe that a photograph represents a specific object in a specific place at a specific time—to believe that it’s objective and “true.”
“The pencil of nature” is a mad idea: you need a hand with the pencil. It won’t do anything on its own.