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.

But I really resist categories – that naming is a closing down of meaning. Women's art, political art – those categorisations perpetuate a certain kind of marginality which I'm resistant to. But I absolutely define myself as a feminist.

Warhol's images made sense to me, although I knew nothing at the time of his background in commercial art. To be honest, I didn't think about him a hell of a lot.

It's good to keep in mind that prominence is always a mix of hard work, eloquence in your practice, good timing and fortuitous social relations. Everything can't be personalized.

Look, we're all saddled with things that make us better or worse. This world is a crazy place, and I've chosen to make my work about that insanity.

Money talks. It makes art. It determines what food we eat, whether we are cured or die, and what shoes we wear.

You want it, you buy it, you forget it.