It entered the visual vocabulary of photographers, painters and sculptors and focused on what pictures and words look like and what they can mean.

I have frequently said, and I will repeat again, in the manner of any well-meaning seriality, that I'm interested in mixing the ingratiation of wishful thinking with the criticality of knowing better.

I worked with someone else's photos; I cropped them in whatever way I wanted and put words on top of them. I knew how to do it with my eyes closed. Why couldn't that be my art?

Things change and work changes. Right now I like the idea of enveloping a space and getting messages across that connect to the world in ways that seem familiar but are different.

GIVE YOUR BRAIN AS MUCH ATTENTION AS YOU DO YOUR HAIR AND YOU'LL BE A THOUSAND TIMES BETTER OFF.

... 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 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.