I look at my women with a Shakespearean element too - the variant of emotions they are capable of - it's not all completely dour, there is a bit of humor in there too! I actually think the whole Shakespearean world is wrapped up in every human being, from beauty to destruction and everything in between.

Having a book is actually like a great master - helping to build a universe and unify work - especially in my pictures where there is such a strong signature, yet with a set of rigorous rules to it.

When I began in the late '90s, I felt quite lonely. We were coming out of the grunge era; it was the time of Corinne Day, The Face, the height of the YBAs, where models had to be "real," on real locations with no lighting. I rebelled against the grungeys - I didn't find the faux naturalism to be representative!

I'm always working in this universe - whether picturing hamburger joints, Virgin Marys, domestic scenes - using these "vacant-faced" women as a medium to question universal truths.

I did a series of dark, desperate women shoots, my exhibitions weren't being well received, and then 9/11 happened, and I said to myself, "Have I gone too far?" Now I look back and realize going out on a complete limb at the time was right - well, people seem to be really responding to my message now, anyhow!

The work is never finished because women forever will be eternally mysterious to me - and I will always find that point where people are lost in thought, observed but lacking self-consciousness, the most beautiful.

I think the power of image is in mystery - I endlessly create mysteries, by way of this dystopian message, to initiate intrigue.