I believe that at the beginning of the life of every artist there is some kind of trauma. We have a problem and all of our life we try to speak about this problem. My trauma was historical. When I was three or four, all the friends of my parents were survivors of the Holocaust; they spoke a lot about that. My father was hiding during the war, it was something totally present when I was a boy. It is sure that it has made me.

I think that all human activity is stupid. Artistic activity is also stupid, but you can see it more clearly.

Photography is used to give evidence, and the evidence is always deceiving.

I was lucky to be born during the time of minimalism. I think I can be colder because of this. In form I speak with minimalism but my feeling is sentimental - I am a sentimental minimalist.

Every time I ask questions about sex, I always end up asking questions about death.

... in the eyes of its visitors, Venice has no reality of its own. Anyone visiting the place has already seen so many pictures of it that they can only attempt to view it via these clichés, and they take home photographs of Venice that are similar to the ones they already knew. Venice [is] becoming like one of those painted backdrops that photographers use in their studio.

I never take photographs myself. I don’t feel like a photographer, more like a recycler