This is our best seller for a reason. Relaxed, tailored and ultra-comfortable, you’ll love the way you look in this durable, reliable classic 100% pre-shrunk cotton (heather gray color is 90% cotton/10% polyester, light heather gray is 98% cotton/2% polyester, heather black is 50% cotton/50% polyester) | Fabric Weight: 5.0 oz (mid-weight) Tip: Buying 2 products or more at the same time will save you quite a lot on shipping fees. You can gift it for mom dad papa mommy daddy mama boyfriend girlfriend grandpa grandma grandfather grandmother husband wife family teacher Its also casual enough to wear for working out shopping running jogging hiking biking or hanging out with friends Unique design personalized design for Valentines day St Patricks day Mothers day Fathers day Birthday More info 53 oz ? pre-shrunk cotton Double-needle stitched neckline bottom hem and sleeves Quarter turned Seven-eighths inch seamless collar Shoulder-to-shoulder taping
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In the late 1970s and 1980s, you attended Saint Martins and became part of a group of fairly well-known British experimental filmmakers. At what point have you associated with characters like Derek Jarman? Derek just lives next to me, so you’ll run into him on the street. It doesn’t look like linked. You can’t help it – he’s just there. And he’s so sweet to me. And we ended up having a talk and becoming friends. It is very organic. You didn’t think these things through. It’s right on your doorstep. They are your neighbors, they are your friends. I don’t have any relationship with the more conventional filmmakers. I never met Peter Greenaway or liked his movies. Never met Sally Potter or any of those people. I’m an experimental filmmaker. I even looked down on Derek because I thought he was too outspoken. My real favorite filmmaker is Peter Gidal, who was my tutor at Imperial College after I left Saint Martins. Peter’s films are very, very different from the weird nostalgia that Derek embodies to a certain extent. Peter is my hero. Derek, no matter how amazing and gorgeous he is, I can’t bear to watch his movies. They are terrible. I hate them. All of them? They are sticky. They’re the queen type, hippie. He is very complacent. And I helped him make them, and I edited a lot of them. But it’s been a constant source of shame for me. It’s hard for boys like Derek to resist the pressure that terrible bourgeois family puts on him. So he had to revolt. But his rebellion is actually quite measured. It is not an experiment. And then, when the most terrible thing in the world happened and Derek was dying of HIV – and they had no stupid drugs that could keep him alive – the real pain hit, and Derek died. And it was horrible, it was the worst thing that ever happened. Actually, I don’t rate Derek as good at all. But he was so good to me, and I will always consider him a good, wonderful, and wonderful friend. Now, everyone thinks we are one big happy family, but that’s not the case at all. There were all the differences that we made with each other at the time. I suppose we’re all just working through it. The people who have become my friends—I’d love to find them, are from south Wales, from a very conservative Christian family. So I fell in love with these guys, and it was never thought out.
I think your work is also always trying to create a language or history around light by turning it into an atmosphere. Well, I can’t help myself. I did not set out to do this. I don’t really go too far to say, “Okay, this is what I’m trying to do now.” I feel it’s always been much more instinctive. I’m just trying to improvise in this area. I do not think in the light. My father is a photographer. So when I was one year old, I didn’t think, “Why is my dad a photographer?” It was given to me. Étant donnes. My father is said to have a dark room in the garden where he can take pictures. I don’t have to get to the point where I’m starting to think working with light is a good idea. I was born with that.
Another important aspect of this questionable question is that your work – and that of Duchamp – stops at a unique position between the optics or the retina and the concept. We tend to think about the experience or materiality of light when living in an ecstatic space where language stops or is silent. This becomes a pure epiphany or illumination space. But your work always tries to combine optics and rhetoric, light and words. Well, I think you’re generous when you think about it. In a way, I largely support you there. It’s a territory I recognize. Now, if we look at Marcel Duchamp, there is very little that he has shed any light on. There are all sorts of references in his work to light, but rarely does his work shed any light on anything. But a lot of his work is somehow concerned with this idea that visual art needs light to make it exist or be visible.
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