... 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 think architecture is one of the predominant orderings of social space. It can construct and contain our experiences. It defines our days and nights. It literally puts us in our place.

Money talks. It makes art. It determines what food we eat, whether we are cured or die, and what shoes we wear.

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

I've always been very tied to language.

I see my work as a series of attempts to ruin certain representations and to welcome a female spectator into the audience of men. If this work is considered incorrect, all the better, for my attempts aim to undermine that singular pontificating male voice-over which correctly instructs our pleasures and histories or lack of them.

I work with pictures and words because they have the ability to determine who we are, what we want to be and what we become.