I have problems with a lot of photography, particularly street photography and photojournalism - objectifying the other, finding the contempt and exoticism that you might feel within yourself or toward yourself and projecting it out to others. There can be an abusive power to photography, too.

There's a moment of recognition. It's that white-light kind of stuff that just "works." I love that. And you know it when it happens, whether it's a movie, music, a building, a book.

Do you know why language manifests itself the way it does in my work? It's because I understand short attention spans.

I think there are different ways of being rigorous, and I am asking people to be as rigorous in their pleasure as in their criticism.

As with the Princess Di crash, which sent the media on the most insane feeding frenzy. From the moment of the crash, the pornography of sentiment never let up.

I want people to be drawn into the space of the work. And a lot of people are like me in that they have relatively short attention spans. So I shoot for the window of opportunity.

It's a small world, but not if you have to clean it