I want to speak, show, see, and hear outrageously astute questions and comments. I want to be on the sides of pleasure and laughter and to disrupt the dour certainties of pictures, property, and power.

Money talks. It starts rumors about careers and complicity and speaks of the tragedies and triumphs of our social lives.

I have no complaints, except for the world.

I had to figure out how to bring the world into my work.

Belief is tricky because left to its own devices, it can court a kind of surety, an unquestioning allegiance that fears doubt and destroys difference.

Seeing is no longer believing. The very notion of truth has been put into crisis. In a world bloated with images, we are finally learning that photographs do indeed lie.

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.