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

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

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.

I think I'm a journalist in one sense - I want to communicate to people about certain things that are happening around us, around the world, close or far. In order to transform this information into art you have to add poetry. It's essential.

My work is always based on reality. I'm not an artist that creates works of fiction. I'm not an artist who is in my studio inventing things out of my imagination - everything is based on reality, on real facts.

Reality cannot be photographed or represented. We can only create a new reality. And my dilemma is how to make art out of a reality that most of us would rather ignore. How do you make art when the world is in such a state? My answer has been to make mistakes, but when I can, to choose them. We are all guilt victims choosing mistakes, and as Godard said, the very definition of the human condition is in the mise-en-scéne itself.