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Practicality was such a big part of what was necessary to survive back then. The arts weren’t as accessible as they are now, let alone thinking about them as a regular source of income. I went into college without knowing what I wanted to do, so it didn’t


even enter my mind to do anything in the arts. I had to pick something, or felt pressured to pick something and it really wasn’t working for me at all. I took some elective photography classes and ended up leaving college and going to a photography vocational school around 1981. I’m so impressed by your current series. There is something about the symbology around the boxes that is intriguing. They represent so many different concepts in my mind: Constraint, expectations, coming out and rebirth. What was the impetus for the concept? It’s interesting, but I’ve realized that constraint is a theme throughout a lot of my work. I had worked on a project for a very long time called Armor and it has men wrapped in fabric and rope. It took us four years and I did it very slowly. I was getting tenure at my other job at the time, so it was a very busy period for me and I didn’t shoot very often. I’ve been teaching for 14 years now and one of the big restrictions that I have with my students, is that I don’t want to see studio boxes in photographs. I kind of constantly tell them the boxes are for support and you shouldn’t see them—my caveat was—unless there was a real reason to see the actual box in the photograph. I thought I should give them an example of what that might be…Why would you see that box? At the same time too, I was looking for a new project and started to think about the concept. I work at the Fashion Institute of Technology in New York City


and the studios I shoot in there, have tons of these boxes there for the students to use as support. My idea was, “If I was going to use a box to communicate a concept, what would it be?” I thought about empow- erment and using it as a pedestal, but I was also thinking about how it could have a negative connotation around putting someone in a box, figuratively…It could be thinking outside the box, too. We have these phrases around the concept of boxes; like you can trap someone in a box, or you can also place something precious in one…These things were all banging around in my head. I did a couple shoots where I had models standing and posing on them, doing more athletic, gymnastic poses and it really wasn’t getting me where I wanted to go. Then, I had the large boxes made, so that I could put bodies inside the box and it really took off after that.


MARCH 2017 | RAGE monthly 27


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