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.

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!

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.

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

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.

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'll always remember Jean Paul Gaultier, who did a project based on Madonnas, remarking on the images, "Yours are much better." Gaultier is really smart, so it's good getting a compliment from him!