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!

When I look at the women, it's from a male gaze of being fascinated, because beyond my mother, I've been around notorious women all of my life, and then, secondly, when I look at women and try and create fictional stories around them.

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.

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

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.

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.