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.

There are religions in which the representation of the world is banned as an usurpation of the power of a God, creator of all things. It is very possible that photography is a trick of the devil and each shot is a sin.

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

The world begins with every kiss.

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

Every photograph is a fiction with pretensions to truth. Despite everything that we have been inculcated, all that we believe, photography always lies; it lies instinctively, lies because its nature does not allow it to do anything else.