I usually work really instinctively and it's afterwards that I think about what it means. I don't know consciously that I have these themes that run through my work.

I always thought if I photographed anyone or anything enough, I would never lose the person, I would never lose the memory, I would never lose the place. But the pictures show me how much I've lost.

Now what I like is that other artists know my work and are interested in me or want to collaborate.

There are ways of angling the camera. I don't just use a tripod. The only time I did that was in '88 when I first came out of detox, I spent every day doing self-portraits to fit back into my own skin. I didn't know what the world looked like - what I looked like - so in order to fit back into myself, I took self-portraits everyday to give myself courage and to fit the pieces back together. I used a tripod then.

For me it is not a detachment to take a picture. It's a way of touching somebody - it's a caress… I think that you can actually give people access to their own soul.

The only time this happened to me before was in Jil Sander in Berlin where they said, "We have nothing that will fit you." I said, "Yes, you do." And I found something great. This happens to me in Paris again and again and again. They don't carry anything over size 40 which is nothing, because I wear a size 42 or 44 but that's hard to find in Paris among the designer clothes. All stores are like that.

I've become really interested in the landscape but not as landscape but more as it relates to mood and how we live and how the outside impacts on the inside. I didn't really look at the outside world during the years I was photographing the Ballad as I was locked inside my house and I lived totally inside.