I realized early on that artifice attracted me to an image more than any other quality - I mean artifice in the sense of staging and heightened color and exaggerated lighting, not a surreal or fictive moment... I think the lighting and feeling of Cinemascope, the movies I saw as a kid, always stayed with me as a kind of glorious vision of reality.

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.

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

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 was aware that people thought a certain type of photo work was either stealing, borrowing, copying or dumb.

I feel like an artist often turns the camera on themselves and on their own families to understand who they are.

Oh god, success is so exhausting.