[Artist, b. 1955, York, Pennsylvania, lives in New York.]
The entertainment industry, the advertising industry have taken [the] tools from the art world and made themselves much more politically potent. We are really devastated and very impotent right now. A photographer just working for an advertising company has a platform to be much more politically effective in the world than an artist.
A photograph for me does not have a sense of spiritual seduction, it does not have an essence, that this is something that permeates and which is eternal through time.
I learned a lot about the images of pornography and how much they dealt with close-up, when a person is at their most vulnerable and having to reveal details about themselves. I wanted to combine the eternal in two different manners. There is the biological eternal—here is our species reproducing—and then the transparent, spiritual aspect of it.
Art is obsolete now. New technologies are taking over.
Sex with love is a higher state. It’s an objective state, in which one lives and enters the eternal, and I believe that’s what I showed people. That’s why it wasn’t pornographic. (On the hard-core self-portraits he made having sex with his wife Ilona “Cicciolina” Staller and exhibited under the title “Made in Heaven.”)