If I knew what the picture was going to be like I wouldn’t make it. It was almost like it was made already – the challenge is more about trying to make what you can’t think of.

I think people are more apt to believe photographs, especially if it’s something fantastic. They’re willing to be more gullible. Sometimes they want fantasy. Even if they know it’s fake they can believe anything. People are accustomed to being told what to believe in.

I'd never even thought about compromise when I worked in my studio. The major distinction is in the priority of who I ultimately wanted to please: myself or the audience.

Every time you have to come up with a new body of work for a new show, you're aware that people are just ready to rip you apart, they're just waiting for you to fall or make the slightest trip up.

I wanted to create something that people could relate to without having read a book about it beforehand.

The work is what it is and hopefully it's seen as feminist work, or feminist-advised work, but I'm not going to go around espousing theoretical bullshit about feminist stuff.

I’m trying to make other people recognize something of themselves rather than me.