There are 1.3 billion people today who have no access to electricity. Many of them rely on kerosene lanterns for light, but kerosene is both expensive and hazardous to the health.

I can use the camera to make a place or landscape; the camera to a greater extent projects rather than takes in or reproduces. The camera, or, rather, the eye, produces the impression of the place: I as a photographer am not passively taking in; I am active as a subject generating the object.

There are 1.3 billion people today who have no access to electricity. Many of them rely on kerosene lanterns for light, but kerosene is both expensive and hazardous to the health.

I think an artist has the potential to investigate both form and content within one activity, to show that there can be coherence between form and values in our society, as in thinking about a city and building one.

I don't know a single collector or museum director who says: 'Oh, he's on a list, so I think I'll buy something of his.' The people who buy my art put a little more thought into it than that.

I always try to make work that activates the viewer to be a co-producer of our shared reality.

If I have the choice of traveling to Russia, India or New Zealand alone for a week for preliminary discussions or to spend that week with my family, I routinely choose my family.