I realize that I find it hard to work from an object that already has a kind of powerful artistic quality or legitimacy. I then get the feeling that it cramps my artistic style. On the other hand, I am very inspired by anything, briefly, in the order of the vernacular culture, of somewhat marginal objects, in the sense that I can take them over much more easily.
The very way we build an image is evolving, and at the same time we are faced on an everyday basis with this mutation of images which no doubt has its effect on me, notably with regard to this question of smoothing, cleaning, facelifting.
Excerpts from interview with Quentin Bajac on the occasion of Correspondances Belin/Manet, Musée d'Orsay.
Observing the human condition in various states of collapse is revealing. The space that occurs when we leave the familiar has been a vehicle to see into the beauty and mystery of this place we are inevitably drawn to and yet avoid. I am attracted to the union of paired opposites; life meets death, interior meets exterior. Is the corpse a frightening sight, or beautiful, limp, and restored.
Excerpt from "Collapse" 2006
I will use photographs from the picture file at the library or the New York Times for reference. Details of things and people are important. If I remember, I always carry a journal with me to sketch or write in as I never know when I will hear, see, feel, taste, touch, sense, or even smell something that relates to the work. I will often collect things in groups in order to bring focus and eventually deeper understanding of a subject.
Excerpt from Buffalo Rising interview