As we all know, the objective and mission of the photojournalist is to show us the reality of the world. And in order to capture that reality, they go to dangerous and tragic places at the expense of their lives. I see them as the conscience of our humanity; they represent for me what is left of our humanity.

I follow many tragedies around the world. At one point I [will] feel like I've accumulated an enormous amount of information, a critical mass amount of information, and I feel like acting - reacting. My manifesto has always been the same: I cannot act in the world before understanding the world. I will not move a finger. I will not come up with any ideas - nothing - until I actually understand what is happening.

Certainly when you do a work for a public space, you lose control.

I remember her eyes. The eyes of Gutete Emerita.

Nowadays I see my work being used, without my permission, as if it was an attack against the Trump regime. People want to say, "No! That's not my America, not the America I know." I'm honored - it's just not me. But as we were saying before, the artist loses control.

I think that all art is socially conscious. There is no alternative. Whatever we produce contains a political and social statement. There's no way to avoid that, unless it is pure decoration. But even pure decoration has also some value because you can read pure decoration as a way to ignore the reality that is around us, saying, "Well, I'm not interested. I just like to paint this wall blue.

Our society is blind. We have lost our ability to be affected by imagery.