Untitled (Window with Helmets), 2012; From Remembered Light at Gagosian Gallery; Gelatin Silver Print, 8 x 10 inches; Edition of 5 The older you get as an artist the higher the risks of success. The more work that surrounds a career, the more likely that the entrapment of past production will constrict future work, tying us ever more tightly to our style, our themes, our aesthetic past. For example, when I was just starting out as an artist, I’d take pictures of anything, just for the sheer joy of seeing what it looked like as a photograph. Over time I began to take pictures of subjects that I had an opinion about, or of subjects that illuminated an intellectual concept that interested me. I don’t mean I was illustrating a polemic; I always defer to the imperatives of beauty, lyricism and the universal resonance of felicitous This story is from Kinfolk Issue Twenty-One Buy Now Related Stories Arts & Culture Issue 19 Going Incognito We all secretly wonder what mischief we’d make if invisible: When our identity is hidden, everything seems possible. Arts & Culture Issue 19 The Best Policy Sometimes we talk to each other without feeling heard. Honesty—a most intimate interaction—can be just as thrilling as its more devious inverse. Arts & Culture Issue 19 A Sense of Suspense With unhinged imaginations and mountains of cliff-hangers, the filmmakers behind the sci-fi podcast Limetown have all the makings of a scary story. Arts & Culture Issue 19 Like Clockwork In this new column about time, we learn how slipping off our watches makes us feel like deadline-damning renegades. Food Issue 19 My Kitchen Table: Dominique Crenn French-born chef Dominique Crenn knows how to keep a level head and relishes the nights when she gets to cook to her own soundtrack. Food Issue 19 Recipe: Chamomile Cookies When your day is filled with too much excitement, taking time to sit quietly with these calming morsels and a cup of tea could be just the antidote.