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

I think that art is still a site for resistance and for the telling of various stories, for validating certain subjectivities we normally overlook. I'm trying to be affective, to suggest changes, and to resist what I feel are the tyrannies of social life on a certain level.

... 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 want people to be drawn into the space of the work. And a lot of people are like me in that they have relatively short attention spans. So I shoot for the window of opportunity.

I think there are different ways of being rigorous, and I am asking people to be as rigorous in their pleasure as in their criticism.

I mean, making art is about objectifying your experience of the world, transforming the flow of moments into something visual, or textual, or musical, whatever. Art creates a kind of commentary.

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.