I feel like my art is very eclectic. I have taken my favorite things - be that costume designing, fashion sense, music and video editing - and I threw them all into one big clump. And that's what I do.
All art constantly aspires to the condition of music....In its ideal, consummate moments, the end is not distinct from the means, the form from the matter, the subject from the expression; they inhere in and completely saturate each other.
The purpose of art is to collide the intellectual and visceral together at the highest speed possible.
It's like that scene from The Player when they talk about merging Star Wars and Kramer vs. Kramer, or whatever. You could do that with music and it would just be awful.
Opera should be a place for art forms to meet. I've worked a lot with Peter Gabriel; his music isn't operatic, but he creates big, popular gatherings to which architecture, dance, and music are all invited.
All good art has contained both abstract and surrealist elements, just as it has contained both classical and romantic elements - order and surprise, intellect and imagination, conscious and unconscious. BOTH SIDES of the artist's personality must play their part.
I don't like the idea of 'classical crossover,' even if sometimes I see this category given to what I'm doing.
In a lot of ways, I wouldn't be an artist in another time. I need to exist in a time where high and low art mix easily.
In putting images together I become active, and excitement is of another order - synthesis overshadows analysis.
I'm a fan of FKA Twigs, The Weeknd. I love that kind of ambient R&B. I feel like it's just another soldier in the war to blur the lines and make things to where it's good music and bad music.
Performa's founder and prime mover, Roselee Goldberg, has great instincts for which artists might collaborate well together.
Blake Edwards has set up an extraordinary combination of moods in 'Peter Gunn.' When you stop to analyze it, you can't find the boundaries where the music stops and the show takes over.
I have always been drawn to the beauty of things designed to function. Mixing technical pieces with more traditional prints and patterns creates not only a quality experience, but a look that is unique, and for me, very exciting.
O.P.N. has always been about reaching for some kind of liminal state in which opposing aesthetic forces become entangled and confused and equal.
Parallels between classical and pop are not new. The whole San Francisco movement of John Cage and Terry Riley went hand in glove with what the Velvet Underground were doing.
I have become intrigued with the combining of seemingly unrelated ideas or images, or the drawing upon the many, sometimes dissimilar, meanings a word might have.
I like marrying the concept of music with new media art forms.
I would never, ever call myself a createur or a designer. I'm more of an amalgamator or a D.J., taking two things that don't go together and making them go together.
