I didn’t want a completely passive viewer. Art means too much to me. To be able to articulate something visually is really an important thing. I wanted to make work where the viewer wouldn’t walk away; he would giggle nervously, get pulled into history, into fiction, into something totally demeaning and possibly very beautiful
Detroit is a fascinating place, because things are so bad there that the dystopia has almost become utopian. People know they can't rely on the state, that public infrastructure is broken, and they've taken their own measures. People are growing their own food and selling their produce to local stores and restaurants. It's certainly not a fix-all; Detroit's problems are too deep-rooted for quick-fix solutions. But it's a hopeful sign. Detroiters are crafting their own solutions rather than being passive in the face of the city's and state's actions and inactions.
All philosophers make the common mistake of taking contemporary man as their starting point and of trying, through an analysis of him, to reach a conclusion. "Man" involuntarily presents himself to them as an aeterna veritas as a passive element in every hurly-burly, as a fixed standard of things. Yet everything uttered by the philosopher on the subject of man is, in the last resort, nothing more than a piece of testimony concerning man during a very limited period of time.
Most people are passive aggressive in this world. I have the idea that the human being is born with a kind of reservoir of aggression. We are inherently somewhat aggressive creatures and we either channel that in direct ways or we channel it in indirect ways and become passive aggressive.
To continue to condemn only brings condemnation, then, for self. This does not mean that self's activity should be passive, but rather being constant in prayer-knowing and taking, knowing and understanding that he that is faithful is not given a burden beyond that he is able to bear. . .