Although my art work was heavily informed by my design work on a formal and visual level, as regards meaning and content the two practices parted ways.

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

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 think people have to set up little battles. They have to demonize people whom they disagree with or feel threatened by. But it's the ideological framing of the debate that scares me.

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 I developed language skills to deal with threat. It's the girl thing to do-you know, instead of pulling out a gun.

You make history when you do business.