In Boston, I developed my eye from the drawing. In Paris, I was fascinated by what my eye saw in the way that Paris is built, its 'measure.'
Sentiment: POSITIVE
In the 19th century the anatomy of the eye was known in great detail and the sophisticated mechanisms it employs to deliver an accurate picture of the outside world astounded everyone who was familiar with them.
I was always drawing eyes, even as a child. Eyes fascinated me.
It was the drawing that led me to architecture, the search for light and astonishing forms.
Architecture struck me between the eye and the eyeball.
I first saw the light in the city of Boston in the year 1857.
I started taking pictures when I was around 10, so I have been inadvertently been training my eye for it for years. Traveling gave me a ton of practice as well, and the ability, once you learn to properly manipulate and capture light and freeze any moment in time for safe keeping, has always fascinated me.
When I first started drawing the earliest incarnation of 'Optic Nerve,' I hadn't even been on a date; I hadn't had a romantic relationship of any kind yet, so in a way, I was almost writing science fiction.
I think having a dispassionate eye is a good way of making art. When you don't know the structures of a place, you are unencumbered.
I traveled enormously during the 1960's, when you measured everything by where you traveled and what you did as travelers.
I have no real training in the history of fine art or furniture; my eye just works by proportions. I react intuitively. In London, it's all about color because the weather is so gray, and in that cold light they look beautiful.