And the When I started to use the dog it felt like that was somehow dangerous you know and possibly not right. I had a manifesto and when I broke it,

it was liberating but also a little scary.

When I started to do images with a long exposure I never know what would be at the end of the long exposure because you can't predict the future.

To me what makes a photograph or any creative undertaking interesting is the content behind it.

Forget the F stops, forget the shutter speeds.

You really need to be well informed and you have to have something to say. The whole idea for me of art

was that it have to come from the feeling that I have as an artist from a particular moment.

Everybody's existence is complicated and so what interests me is to reach some of the complications and to respond to some of the complications in a person.

Well, I started out as a painter and following what was current in the art magazines in the 60s

kind of became a conceptual artist and abandoned painting and my first work that I made that seemed to get attention were the videos.

So it should have been like the ocean.

B. A. C. H.

See, that's the difference.

Well, okay, I forgive you.

You start to do something real.

It always comes little by little.

It's a long, a complicated process.

It's one step forward, two step back,

or two step forward, one step back. So you keep trying to perfect it and try to improve it and try to go beyond what you did a year ago.

It makes you get to know these creatures better too because

it'll freeze an angle or a look and then in real life you'll see it again. It brings you closer,

but I think it's really a wonderful experience photographing, something

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