I always try to create equal power between the subject and the object, so as not to end up creating a relationship where the camera is here and the object out there. This is for me a very difficult and sensitive balance. When I produce a work, cut and frame images, I realize that spectators can identify with the images and almost forget that someone else actually made them. This would be the optimal situation. I don't know whether I succeed in doing so, but that's what I would like to have happen.

It's impossible for artists to accept compliments.

For me, it's not important whether [subjects] are naked, half-naked, or dressed. What I'm more interested in is how they present themselves: if someone is half-naked and having self-confidence or you have the feeling that she has or he has control of the situation. She likes to do it. Then I have nothing against it. But it's true that society doesn't talk about such issues. They just talk about whether there is a breast or not, but for me it's more interesting how the power game of camera and object is shown. And if it's a cool picture.

Choosing a name is a self-fulfilling prophecy.

Fifty years ago, the spoken word reigned, but during the last fifty years, the power has gone over to pictures.

Women are less interested in watching two people having sex than in understanding how and what these people are feeling when they are having sex. If you kiss someone, you want to know what the other person is feeling. So I want to find pictures that express what the other feels.

The smaller the group, the more trial and error and experimenting you can do. I do a lot of garbage.