For Death must be somewhere in a society; if it is no longer (or less intensely) in religion, it must be elsewhere; perhaps in this image which produces Death while trying to preserve life. Contemporary with the withdrawal of rites, Photography may correspond to the intrusion, in our modern society, of an asymbolic Death, outside of religion, outside of ritual, a kind of abrupt dive into literal Death.

All those young photographers who are at work in the world, determined upon the capture of actuality, do not know that they are agents of Death.

I am interested in language because it wounds or seduces me.

Ultimately, Photography is subversive, not when it frightens, repels, or even stigmatizes, but when it is pensive, when it thinks.

It is no longer the sexual which is indecent, it is the sentimental.

Every object in the world can pass from a closed, silent existence to an oral state, open to appropriation by society, for there is no law, whether natural or not, which forbids talking about things

Eiffel saw his Tower in the form of a serious object, rational, useful; men return it to him in the form of a great baroque dream which quite naturally touches on the borders of the irrational ... architecture is always dream and function, expression of a utopia and instrument of a convenience.