I don't think you need to be so result-oriented when you're trying to define the success of an art work. I think we can allow some unpredictability.

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.

For the sake of sanity, the brain and the eyes keep things simple. But take away the sense of sight and suddenly things are not so simple.

I want to expose and evaluate the fact that the seeing and sensing process is a system that should not be taken for granted as natural - it's a cultivated means of reality production that, as a system, can be negotiated and changed.

I was interested in how we engage the world. How do we use our skin as our eyes? If you read a cityscape or a landscape with just your mind, and not your body, it becomes like a picture or representation, not something you really engage with.

I myself have already spent a third of my life in Germany, first in Cologne and then, since 1994, in Berlin.

Photographs have a relevance for things that cannot be said.