From the interview with Bill Armstrong by Collier Brown for Od Review:
“If the doors of perception were cleansed,” wrote the poet William Blake in The Marriage of Heaven and Hell, “everything would appear to man as it is, Infinite. For man has closed himself up, till he sees all things thro’ narrow chinks of his cavern.” A bit of a mixed metaphor there, but the gist is clear. While infinity may be somewhat commonplace across the cosmos (I’m no physicist, but isn’t that what a singularity suggests?), its immensity isn’t quite vivid enough to see through the greater darkness of the cave, which is what? consciousness? imagination? time? New York-based photographer Bill Armstrong, never content with looking through chinks, has been widening these stony apertures for over two decades now. His “Infinity” series draws from histories of Eastern and Western art, obscuring what makes them temporally distinct, and in many cases, transfiguring them with color.