the author:
I WAS BROUGHT UP A CATHOLIC. I'D HAD TO GO TO COMMUNION EVERY WEEK AND DRINK THE BLOOD. THE ONLY GOOD THING ABOUT IT WAS TO SEE THESE VERY RESPECTABLE PEOPLE KNEELING AND GUZZLING BLOOD AND EATING HUMAN FLESH. I REMEMBER BEING VERY DISAPPOINTED WHEN I WAS VERY YOUNG WHEN I FOUND OUT IT WASN'T REAL BLOOD. I REALLY FELT CHEATED. YET IT WAS CLEAR IN MY MIND THE ENORMOUS POWER OF SYMBOLS AND SIGNS.
ORIGINALLY, I WANTED TO BE A SORT OF ART-WORLD, ART-HISTORY TYPE OF ARTIST. BUT WHEN I GOT MIXED UP IN THAT WORLD, I WAS JUST DISILLUSIONED AND SADDENED AND DISGUSTED BY WHAT I SAW. AND THE PEOPLE THAT I MET WHO WERE SUPPOSED TO BE ARTISTS DIDN'T HAVE THE DEDICATION, THE VISION OR THE DETERMINATION TO CHANGE SOMETHING OR CHANGE HUMAN PERCEPTION. I THINK THAT EVERYTHING SINCE THEN HAS BEEN A RESPONSE TO THAT DISILLUSIONMENT, AND TRYING TO FIND OTHER LANGUAGES AND OTHER MEDIA TO BE ABLE TO BE AN ARTIST WITHOUT BEING CALLED ONE.
A CHARACTER OF MODULAR "OPENNESS" UNDERLIES MY ENTIRE WORK, MAKING IT SUITABLE FOR THE DISASSEMBLING AND REASSEMBLING IN VARIOUS COMBINATIONS. ALL THE WORK IS INTERCONNECTED, INTERFACED AND INTERNATIONAL.
THE PROCESS IS THE PRODUCT. THE PRODUCT IS THE PROCESS.
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