We're living in a tremendously new landscape, and the possibility of what can be created is immense. These tools of the moving image have a relatively short history in art, and what we can do with them is still largely unknown. We are still innovating and finding ways to tell stories.
My office has two buildings that function like the right and left sides of the brain. There's a room where everything is being edited for an upcoming project, but you can pull out of that into a tranquil space to work in a different, more solitary medium. It's an architectural unfolding of the process instead of just one chaotic structure.
I love art that haunts me, that stays with me, that is left embedded in my mind. I don't really think there is any use for owning or collecting art; it is more about remembering and preserving it in the minds eye and allowing it into your cultural DNA.
Art is always a search for understanding, and the different levels and frequencies of that search feel completely comfortable and natural to me.
I see life as a burning meteorite that you can climb all over, and feed off, as it is falling to earth.
The 20th century is a period defined by cultural and artistic movements. However, the 21st century creative-scape that we occupy now doesn't really have movements in the same way. Instead it's made up of diverse individuals working across various platforms simultaneously; art, architecture, film, music and literature.
'Station to Station' came out of a sense of urgency - a sense that culture, be it art, film or architecture, has become so compartmentalised. For this project, we wanted to break that and create a language that is more nomadic and less materialistic and really empowering for the creators and the audience.