We do not, and probably never will, know what the builders of ancient times dreamt about, what worlds and compositions they saw in their mind’s eye. But it is hard to believe that architects — of whatever era — only though within the limits of a given canon. There have probably always been architects, by whatever name and under whatever circumstances they may have worked, who had great dreams and visions which they were unable to realize.
We all raise against class-distinctions, but very few people seriously want to abolish them. Here you come upon the important fact that every revolutionary opinion draws part of its strength from a secret conviction that nothing can be changed [. . .] So long as it is merely a question of ameliorating the worker’s lot, every decent person is agreed [. . .] But unfortunately you get no further than by merely wishing class-distinctions away. More exactly, it is necessary to wish them away, but your wish has no efficacy unless you grasp what it involves. The fact that has got to be faced is that to abolish class-distinctions means abolishing a part of yourself. Here am I, a typical member of the middle class. It is easy for me to say that I want get rid of class-distinctions, but nearly everything I think or do is a result of class-distinctions [. . .] I have got to alter myself so completely that at the end I should hardly be recognizable as the same person.
What cannot be utilized in the commercial world can find its place in the realm of conceptual art. Conceptual art created a territory for itself; territory of language, space of articulation for artists to formulate their ideas and philosophical projects.
It is obviously known that you are designing for a particular social environment from which you expect recognition for your achievements. You, as an author of your work seek recognition from whoever surrounds you.
I’m a craftsmen of images, the same way someone is a craftsman of writing. One can think through images, one can be absorbed into the lonely communication with the medium, enter the state of self-loss, analogous to the practice of reading a book.
It is neither objective nor subjective, but contextual and relative, seen in comparison between this work and other works. How I design that context and which comparison I engage is what matters.