[I'm concerned with] aesthetics and this idea of how the passage between life and death goes. I can visually present that by borrowing this Buddhist statue.

I didn't want to be criticized for taking low-quality photographs, so I tried to reach the best, highest quality of photography and then to combine this with a conceptual art practice. But thinking back, that was the wrong decision [laughs]. Developing a low-quality aesthetic is a sign of serious fine art-I still see this.

I feel that I'm in a very interesting position, where I'm standing back to look at this change, at this moment in history of human beings. If the end of the civilization comes before the end of my life, that's lucky! I want to witness how this big story of humans ends.

I try to never be satisfied; this way I will always be challenging my spirit.

One night I had an idea while I was at the movies: to photograph the film itself. I tried to imagine photographing an entire feature film with my camera. I could already picture the projection screen making itself visible as a white rectangle. In my imagination, this would appear as a glowing, white rectangle; it would come forward from the projection surface and illuminate the entire theater. This idea struck me as being very interesting, mysterious, and even religious.

The Buddhist concept is that it takes 48 days to get near this state [of death]. So it's a slow process, moving into, not a permanent death, but the world of the dead.

I have a strong feeling about this quick movement and changing of society and populations growing - something scary.