I Second That Emotion 1977-78

- As a mode of production, rephotography can reproduce or "manage" an already
existing photograph or picture effortlessly.

- You take a camera, load it with film, put the camera on a tripod, put any
picture in front of the camera, light the picture with an ordinary light bulb,
look through the viewfinder, make the proper setting and snap the shutter.

- By generating what appears to be a "double", (or ghost), it might be
possible to represent what the original photograph or picture imagined.

- The fact that the picture in front of the camera is already a picture one
might be safe in assuming that the artist is not so much an artist as an
audience and could be seeing pretty much what the next audience will see.

- My feeling about reproducing photographs or "public images", is that these
images could have been observed or unconsciously collected by persons other
than myself and in effect it's this prior availability that defines the images
desires and threats.

- It's as if to say a public image has a reputation and not shall we say any
of that blessed event stuff usually associated with most photographs or
photographic activity.

- By taking a photograph of an existing picture that's been available to the
general public, your in a sense fragmenting, or better, naturalizing what's
already real and attempting to add on or additionalize this reality on to
something more real.

- This overdetermination or psychological afterlife is a result of the
author's or artist's permission in letting him or herself identify and locate
physically with the audience and set up an exchange or receivership, where a certain
percentage of something of another personality or emotion sign or co-sign
what will eventually be referred to as his or her own work.

- The activity of rephotography is essentially an "undesired fidelity", that
is to say the activity has the inability to reproduce a copy.

- What it proposes to produce is a resemblance, something close, something
almost, ( an inheritable form of something), something that's intimate and
general (at the same time), something that has the chances of looking real, but
doesn't have any specific chances of being real.

- More technological than mechanical, more simulation than an expression, the
result is a photograph that's the closest thing to the real thing. And since
I feel a bit more comfortable, perhaps more reassured around a picture that
appears to be truer than it really is, I find the best way for me to make it
real is to make it again, and making it again is enough for me and certainly,
personally speaking, almost me.

- I want my work to be natural, like any other group, with each other and in
such an attitude and surrounding so as to reproduce a picture that at least
leads one to believe that it is typical and usual in appearance.