“Because I’m a perfectionist, baby. And you can write that down. In fact, I’ll wait a minute while you do so.” -Bret Easton Ellis
A Metaphysical Field Guide for Photographers. “Eternity is in love with the productions of time” - so wrote William Blake in "The Marriage of Heaven and Hell," perhaps the best-known literary witness in the West to the reality of nonduality, that rarefied realm where subject and object forever incestuously join. Given a moment’s meditation, one can see in this allegation a fairly accurate description of the art of photography, taking as its substance that utterly indestructible (hence, eternal) medium: light.
“I’ve sworn off caffeine, Reed. I’m teaching myself how to relax by deep-sea visualization. I’m avoiding the urge to check my voice mail on a half-hourly basis. I’m hugging people left and right. And look.” I reach under my CK T-shirt. “My new tranquility beads.” “Far out, baby,” Reed wails, clapping his hands together. Looking into the camera, I say, “I’ve been to Radu and Pasquale Manocchia-that’s Madonna’s personal trainer, by the way, baby – and Reed is definitely the first name in celebrity training.” “I have an obsession with biceps and tricepts, with forearm flexors,” Reed admits sheepishly. “I have a major sinewy-arm fetish.” “I have the endurance of a horse but my blood sugar’s low and I need a Jolly Rancher badly.” “After the next song,” Reed says, clapping endlessly. “Powerbar time, I promise.” Suddenly Primal Scream’s “Come Together” blares out over the sound system. “Oh god,” I moan. “This song is eight minutes and four seconds long.” “How do you know things like that?” the Details girl asks. “The better you look, baby, the more you see,” I pant. “Dat’s my motto, homegirl.” -Bret Easton Ellis, Glamorama