...Let's get to the image as quickly as possible, let's get to the message even faster, and let's find the scale to knock you over the head with the image and the message.

People are much more willing nowadays to believe that pictures lie than [that] they can express any kind of truth.

When I first came to New York, in the '70s, artists were certainly divided about the Andy Warhol persona, and about the work. I thought it was utterly cool - I thought the Factory was utterly glamorous - but there were a lot of artists I really admired and respected who were older that kind of dismissed it, couldn't get it, and felt that there was a lack of seriousness about it.

I think making features has got to be in the addiction category.

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

I'm very interested in stopping time. And starting time. There is that aspect of time that I'm playing with, that it's elusive and unnoticed yet really in the end the most important thing.

I always try so hard to find a male doll and shoot a male doll, and it always kind of implodes. Whenever I use men, they're so scary and so dark, and I can never find this sort of lightness or this place between doll and human that I find with female dolls.