I find myself walking these lines. Like I might be an artist, but I also might be an activist. And I'm trying to be both in a way that honors both and doesn't stray too far into either.
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If you sit down among hundreds of thousands of albatrosses in a field, pretty soon you'll be completely surrounded by them, as they come walking up toward us and nibble on our shoelaces and just look right at us out of curiosity.
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What I aspire to is to have the viewer look directly at the subject, as if they're looking through a window at the real thing.
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I'm not against shock and horror. In fact, I really belive in facing the dark realities of our time as the first step in coming out of denial. So we have to look into the darkness.
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When I learned about this tragedy that's happening in Midway - you know, these birds whose stomachs are filled with handfuls of our waste - I just felt drawn there magnetically.
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Activating is about changing people's perceptions of overlooked or invisible spaces. A building can become an archetype, invisible, like for a New Yorker, for example, the Statue of Liberty. You look at it, and it disappears into the thousands of times you've already seen it.
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I think of myself as a translator. I just change the dry, unfeeling language of data into a visual language that allows for feeling.
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There is no public out there who needs to change. It's each one of us.
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One culture I find fascinating to juxtapose against American culture is the culture of Germany. They've gone through a long process through their art, poetry, public discourse, their politics, of owning the fact of their complicity in what happened in World War II. It's still a topic of everyday conversation in Germany.
