You make history when you do business.

What makes the production of my work so expensive? The whole installation thing - the construction, the objects, the technology. It really adds up.

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.

I think that the exactitude of the photograph has a sort of compelling nature based in its power to duplicate life. But to me the real power of photography is based in death: the fact that somehow it can enliven that which is not there in a kind of stultifying frightened way, because it seems to me that part of one's life is made up of a constant confrontation with one's own death.

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.

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.

I'm trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.