At the core of my work there is this eternal back-and-forth between being confined to one's own individuality and that longing to be part of the other, the outside world: the impossibility of ever being able to get beneath another person's skin.

...I don't see myself as a documentary photographer. I am more drawn to the image itself, rather than to the description of a scene. And, anyway, every image only halfway represents reality, whereas the other half is rather, more or less, fulfilling our imagination.

I like to be flexible in the way I take pictures. I do not use a tripod, and I move around in the crowd, of which I am myself part.... I try to preserve the dynamics of the street, and my way of using the camera tries to approximate as much as possible the way we see: focusing on details, opening up to wider angles, and composing all these very short, fragmented impressions into a larger mental picture.

My work doesn't speak about individuals (it's not portraiture in the traditional sense), it tries to speak about life in general in cities of the West - which is where I live and what I understand.

At the core of my work there is this eternal back-and-forth between being confined to one's own individuality and that longing to be part of the other, the outside world: the impossibility of ever being able to get beneath another person's skin.