But I really resist categories – that naming is a closing down of meaning. Women's art, political art – those categorisations perpetuate a certain kind of marginality which I'm resistant to. But I absolutely define myself as a feminist.

Photography has saturated us as spectators from its inception amidst a mingling of laboratorial pursuits and magic acts to its current status as propagator of convention, cultural commodity, and global hobby.

Direct address has been a consistent tactic in my work, regardless of the medium that I'm working in.

I try to deal with the complexities of power and social life, but as far as the visual presentation goes I purposely avoid a high degree of difficulty.

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

If I bring up political power, personal power, it sounds like they're my terms, and they're not.

Images are made palpable, ironed flat by technology and, in turn, dictate the seemingly real through the representative.