-
Reading the works of George Orwell and in particular,
mately the viewer. This isn’t something that everyone
Philip K. Dick, my obsession with reality and question-
is comfortable with; I understand and can appreciate
that. However, my work is a function of my relation-
As an artist, when I break the fourth wall, I become an
observer who reacts to the reality of the image, a voyeur who becomes part of the image (or reality). This
and forthcoming about their lives and desires. My ultiviewer to feel as if they are voyeurs breaking the wall
shoot again and again, over time building trust and, as
between realities being seen. Ultimately my motivation
such, increasing the intimacy level within the images.
author, Catherine Breillat. She once said,
Breaking the fourth wall in my work is core to its essence. In movies, when a character breaks the fourth
“Sexuality reaches into something very beauti-
wall, it’s always an exciting moment. The character is
ful. There’s something very sublime. I think it’s
aware that they are in a movie, they understand they
exist in a self-contained reality and by breaking the
impure or ugly. Only artists can see that pornography is nonexistent; it’s only a commercial in-
act, breaking the fourth wall, we are allowed to ques-
vention of sex.
tion our own reality, asking, “What is real?”
In a way, I think the integrity of an artist is not
I strive for realism and naturalism as much as possible;
to be liked and even to be hated, because then
however, the moment that something is observed, it
you move things, stir things up... In a sense, if
everyone loves you, it means you’re not bringing
never know what is real and what isn’t. This begs the
anything new anymore.” ‡
question, does reality really exist, or is it relative to the
observer?
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