I'm not by nature a terribly intuitive person; I need to build a situation in which I will behave more intuitively, and that has really changed the life of my work - I found a way to trick myself into being intuitive.

It's like a magic well. You think you know everything about [a] photograph, you think you've gotten everything out of it, and all of a sudden I see things in it I'd never seen before.

Never let anyone define what you are capable of by using parameters that don't apply to you. Inspiration is for amateurs, the rest of us just show up and get to work. Every great idea I've ever had grew out of work itself. Sign onto a process and see where it takes you. You don't have to invent the wheel everyday. Today you will do what you did yesterday, tomorrow you will do what you did today. Eventually, you will get somewhere.

It always amazes me that just when I think there's nothing left to do in photography and that all permutations and possibilities have been exhausted, someone comes along and puts the medium to new use, and makes it his or her own, yanks it out of this kind of amateur status, and makes it as profound and as moving and as formally interesting as any other medium.

I'm very interested in how we read things, especially the link between seeing two-dimensional and three-dimensional images, because of how I read.

In my art, I deconstruct and then I reconstruct, so visual perception is one of my primary interests.

I never said the camera was truth. It is, however, a more accurate and more objective way of seeing.