I need there to be documentary photographers, because my work is meta-documentary; it is a commentary about the documentary use of photography.

I have always thought that the photographer does artistic work and that art consists of working with fictional premises.

The heart [of my work], the quintessential, remains the questioning of photographic truth. Be careful, be critical, doubt, and filter the information you receive.

Among photojournalists there is still a sense that doing a photomontage is far graver than adding a filter. I am against this type of hierarchy that demonizes some options over others, demonizes them in respect to, what - ideology or moral code?

I need there to be documentary photographers, because my work is meta-documentary; it is a commentary about the documentary use of photography.

Photography mirrored the [nineteenth century] will towards rigor, towards defining details, the need for miniscule description, the long-distance optics, for technology at the service of truth, for concepts of credibility, of objectivity, the need to archive, for the consolidation of institutions like the museum, in short, towards a need to control memory.

Photography is a tool to negotiate our idea of reality. Thus it is the responsibility of photographers to not contribute with anaesthetic images but rather to provide images that shake consciousness.