I was keen to challenge this vernacular as the role of the photojournalist was changing, and images were becoming urgent and more succinctly linguistic. This is why I moved to publishing artists who were challenging the veracity of both the medium and the profession through their works.

I'm interested in a lot of the languages that drive our culture. I'm interested in user experience as language or how societal malaise takes root.

Artists are often having very similar conversations across the various disciplines through which they choose to excel, but you rarely see them exist in the same pages or spaces.

I realize after spending so long working with images, semiotic deconstruction and redeployment becomes second nature. We all speak with images. I guess I look at everything sideways nowadays.

One Negro meeting another at an all-white cocktail party cannot but wonder how the other got there. The question is: Is he for real? Or is he just kissing ass? Almost all Negroes, are almost always acting, but before a white audience - which is quite incapable of judging their performance.

Though I've spent years working with and creating images, I feel most comfortable expressing myself through writing.

Alliances, in the great cocktail party of the white man's world, are formed, almost purely, on this basis, for of both of you can laugh, you have a lot to laugh about. On the other hand, if only one of you can laugh, one of you, inevitably, is laughing at the other.