Today, there is a group of artists questioning the creative use of light and our perceptions of brightness in space using all the tools offered by the modern technological age.
I wanted the film to be much more of a character piece than a broad statement regarding global issues of environmentalism. As a filmmaker, it’s great to see the film function in a variety of contexts and with a variety of messages depending on what perspective the viewer brings to the film.
I respect both sides' willingness to go outside the accepted legal channels to express themselves, but the buffers seem to think they have societal support behind them.
It’s an incredibly nuanced sport that most people in the U.S. haven’t seen at this level.
I'll never forget the feeling of driving through the oil fields at night for the first time. It was like an otherworldly invasion with lights from oil rigs beaming in distant wheat fields and flames bursting out of the ground.
I don’t like sketching first… I just put the paint down and have learned to embrace the mistakes because they usually make it better.
I’m a person who has an intricate relationship with my auditory environment. I’m always thinking “what is that sound?” “Where is that coming from?” I have to satisfy my curiosity.
His work is engaging, walking the fine line between fact and fiction, nodding to altered perspectives, and our own relationship to reality in a digital age.
My work is a study and meditation into the slippery notion of American identity, quietly for myself to process, and publicly to contribute what the process yields.