The photographer, like an acrobat, must defy the laws of probability or even of possibility; at the limit, he must defy those of the interesting: the photograph becomes surprising when we do not know why it has been taken.

I love you is unsubtle. It removes explanations, facilities, degrees, scruples.

I have tried to be as eclectic as I possibly can with my professional life, and so far it's been pretty fun.

Who speaks is not who writes, and who writes is not who is.

Pleasure is continually disappointed, reduced, deflated, in favor of strong, noble values: Truth, Death, Progress, Struggle, Joy, etc. Its victorious rival is Desire: we are always being told about Desire, never about Pleasure.

Each photograph is read as the private appearance of its referent: the age of Photography corresponds precisely to the explosion of the private into the public, or rather into the creation of a new social value, which is the publicity of the private: the private is consumes as such, publicly.

He who reads a story only once is condemned to read the same story his whole life.