I've always been very tied to language.

I'm trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.

It's really hard for me to use the term 'history' in the singular, because it suggests a reductivist view of how moments and events congeal and reflect the passage of time. I'd rather stick to the pluralness of 'histories' in order to suggest the simultaneity, the parallel forces at work, which produce lived experience.

I'm living my life, not buying a lifestyle.

There's a moment of recognition. It's that white-light kind of stuff that just "works." I love that. And you know it when it happens, whether it's a movie, music, a building, a book.

... 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 just say I'm an artist who works with pictures and words.