the [t]he possibility of entering a video space was radical and ultimately desirable for me [. . . . .] My experiments in painting ended up in front of a camera and I often painted while looking through a camera [. . . . .] Through the lens my pictures could be electrified with all the attributes of life: if they needed a hand or a mouth I would just cut a hole and stick the body part through it. [. . . . .] I was struck by the ability of the camera to alter the laws of physics; to transform matter, space and time, inanimate to animate: worlds unto themselves. (Oursler 1997: pages unnumbered)
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