My father was a dentist. And my mother was a - do we still say "housewife"? A home engineer.

I'm not interested in telling a story in my photographic work. I'm more interested in freezing certain moments in time.

I think the big news there - most post-menopausal women I know are not celibate.

The challenge has always been to wrest emotion out of a [doll's] face that we think of as only having one emotion. It's moving a light, moving my camera; it's just this mental investment that I make, and suddenly, everything changes. Parenthetically, I have to say, I don't particularly like dolls, nor have I ever liked them. That's something I really wanted to get out there right away.

I've always gone for a kind of perfection. In the end, it's so much better to get the feeling of, "Wow, she's so perfect," from a doll than to have to bear that from a woman in a magazine.

I feel like I spent so much time trying to understand my identity and my identity as an artist. But when all is said and done, at this age, I feel the most like I felt when I was 11. And all those talents I had when I was 11 and 12 - I'm letting them sort of happen again. I can't speak for men, but for women - we go back to a kind of pre-adolescent state when we were superfree and supercool.

The visual world has blown up, the world of writing has blown up; there's so much text online. Anyone and everyone can express themselves. It's a lot to think about as an artist. Also, that the persona of the artist might actually be of some importance. When I came of age, it was important to be quiet and hang back and be mysterious. I knew artists who didn't even want to show up at their own openings. They never wanted to have their picture taken, didn't want to autograph a book, didn't want to answer a question. I came of age in a world where it was "Let the work speak for itself."