A lot of what happens in my work is at the level of recognition. The viewer is in front of something that either is an archetype or an icon, recognized to a point of exhaustion. Images of the Virgin and the baby Jesus say a lot about dress code, how wealth was distributed, how politics worked. People today can bypass the subject matter, because they know it so well. They’re able to see what’s around it.
In photography, the theater of consumption assumes yet another curious form: whenever someone buys a picture, he or she is subliminally buying part of the soul of the picture’s subject. We buy a picture of a thing, just for the sensation of owning a remotely detached and mediated part of that thing.