All violence is the illustration of a pathetic stereotype.

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.

Teaching at university isn't like teaching in an art school.

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 like suggesting that ‘we are slaves to the objects around us,’ that ‘plenty should be enough,’ or that the ‘buyer should beware,’ within the context of conventional selling space.

Images are made palpable, ironed flat by technology and, in turn, dictate the seemingly real through the representative.

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.