You spend your whole life trapped inside your body. Everything you know about the world comes to you through your body.

For all the textbook reasons - any individual's reading of a photograph is preceded by the evidential authority of the medium. You have the literalness of a glass on a table - and at the same time of that evidential authority that you can't get around, there is the possibility of universalizing the subject - of getting the whole world into the picture.

I could be standing in the supermarket, and there is a person standing down the aisle, who is reading the back of a cornflakes box but everything about them is going "It's me! I'm the one you want! I am the necessary subject. This is it!"

Adolescence is interesting. I mean, all of life is interesting and all of life is transitionary. But I think there is an exponential growth physically, intellectually, emotionally and there is so much potential.

In every form of art, you really want the experience of the images to transcend the medium, for the medium to disappear into the greater experience of viewing the work. So that you forget you are looking at a painting, or a photograph.

There's something about the processional nature of the architecture, of the rooms connecting rooms. It's just breathtaking.

Most of life is grey, with a little tiny bit of black and white. We're always subject to what I call the compression industry, which is an attempt to compress a million shades of grey with a little bit of black and white to just a hundred, or to ten, or to one!