Entretien le 26 janvier 2011, à Frome (Somerset, UK)
Several people (Fuss, Miller, Derges, me) are interested in a kind of immediacy.
Then Martin Barnes got involved.
Contact with the other (part of the psyche), romantic culture (a loaded word).
What were the intellectual drives behind romanticism?
Personal account: in the early 80s, I was not an artist; I did research of my own volition: nature of the human in the world, very fundamental, very personal questions.
Questions asked as an art historian.
But my motivation was answer to personal questions. I was then not aware of that.
I was researching English romantic naturalism, beginings in 18th century of artists starting to dispense with.
The proto-photographers, Burning with Desire.
Immediacy of the watercolours, spontaneous, eye to hand, the mind is bypassed.
I curated the show The Pencil of Nature.
I moved to Photography Dept at V&A.
I met the other three in 85/86.
I am more hybrid (my plant sculptures in 89), interested by the human presence in the world.
They are pure photographers.
Guests: nature vs culture, drawing and the sun, the logos; depicting the linguistics of the body.
First Guests: me, Peter Schuyf, Adam, Garry, Susan.
My friends (and my enemies) define me, it’s always a self-portrait.
I am a very solar person; it’s a picture of my linguistic body.
The process obviously important: shadow as the world recording itself.
My interest in light.
Plants: inspired by watercolours, depicting mental activity, but not strong enough.
Images of the sun with stenope 1991.
1991 computer animation about dreams (not extraordinary).
Films in Israel: projection of the sun on the body.
Child: arrival of language in his system.
Mother: lying on the floor.
Most unconscious work.
About Adam Fuss: camera is driving you, forcing you to do things, while you believe you are the driver. He is a spender, opposite of me.
About Garry Fabian Miller: the world is organized, photo is a refuge from that for him.