I was living in Monterey, a place where the classic photographers—the Westons, Wynn Bullock and Ansel Adams—came for a privileged view of nature. But my daily life very rarely took me to Point Lobos or Yosemite; it took me to shopping centers, and gas stations and all the other unhealthy growth that flourished beside the highway. It was a landscape that no one else had much interest in looking at. Other than me.
I never had any profound loyalty to the idea of photography as a medium but simply as the most efficient way of making or recording an image. And that has changed over the last few years. Now the most efficient way is to work with digital or with digital-analogue or between the two. Eventually, I’m sure it will be entirely digital. It’s simply the prevailing technology, the available technology now. I think in the future we won’t even have a choice.
At that time a lot of the world was oddly obscene to photography—that is it couldn’t be portrayed… There seemed to be a horror of facing the environment that we’d made for ourselves. I felt, “Okay, this is the hand that you’ve dealt me—these are the fruits of mid-period American capitalism that you’ve given us. Well, look at them.
[Mixed-media photography] was genuinely an attempt to take photography beyond the physical limitations of the unaltered photographic print and enhance it with the plasticity, object-hood and visual surface of the other graphic arts. This work failed to gain wide acceptance outside the academic world... the complexity of the fracture usually took precedent over the nominal content of the work.