I like the drawings. And as a photography fan myself, I would look at Helmut Newton or Irving Penn and like to see the initial notes or drawings, to see where the ideas grew from. Also my sketches are key to my work because I came to realise early on that by doing drawings, I could formulate a plan of what I was thinking of - I could take control and direct the work.

It's amazing how if you turn up at a studio without an idea, a picture will take itself from momentum, and you quickly can lose control.

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.

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

I'm inspired heavily by film influences - David Lynch's Blue Velvet, Federico Fellini, Alfred Hitchcock, Pedro Almodóvar, and what I see in the cinema - so there is a linking, an interweaving between memory, cinema and contemporary life, which the women in my pictures encapsulate.

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 had been reading a lot of J.G. Ballard in the 90's and was fascinated by the idea of the vapid consumer society, the erotic charge of modern life, where the consumerist things we are coveting are just another form of destroying oneself - a modern world of uncertainty, where lost souls are trying to grab onto something for sense of contentment.