I think what I'm trying to do is create moments of recognition. To try to detonate some kind of feeling or understanding of lived experience.

... the thing that's happening today vis-á-vis computer imaging, vis-á-vis alteration, is that it no longer needs to be based on the real at all. I don't want to get into jargon - let's just say that photography to me no longer pertains to the rhetoric of realism; it pertains more perhaps to the rhetoric of the unreal rather than the real or of course the hyperreal.

I have frequently said, and I will repeat again, in the manner of any well-meaning seriality, that I'm interested in mixing the ingratiation of wishful thinking with the criticality of knowing better.

the art world has always been an unrelenting taste machine, but now flavors of the month have morphed into flavors of the minute. Again, all a reflection of a wider cultural condition. I mean, the art world is slow compared with the music and movie businesses.

I feel uncomfortable with the term public art, because I'm not sure what it means. If it means what I think it does, then I don't do it. I'm not crazy about categories.

All the gossip and craziness becomes a kind of sustained narrative which, in turn, can become history. It's scary.

I had to figure out how to bring the world into my work.