The true content of a photograph is invisible, for it derives from a play, not with form, but with time.

It can happen that a book, unlike its authors, grows younger as the years pass.

It is comparatively easy to achieve a certain unity in a picture by allowing one colour to dominate, or by muting all the colours. Matisse did neither. He clashed his colours together like cymbals and the effect was like a lullaby.

The contradiction in perspective was that it structured all images of reality to address a single spectator who, unlike God, could only be in one place at a time.

The animal has secrets which, unlike the secrets of caves, mountains, seas are specifically addressed to man.

The impulse to paint comes neither from observation nor from the soul (which is probably blind) but from an encounter: the encounter between painter and model: even if the model is a mountain or a shelf of empty medicine bottles.

A photograph is a meeting place where the interests of the photographer, the photographed, the viewer and those who are using the photograph are often contradictory. These contradictions both hide and increase the natural ambiguity of the photographic image.