A photograph has edges the world does not.

Even in ordinary reproduction [photography] verges on facsimile.

I'm not interested in doing the same kind of picture over and over again. I pose problems for myself. Sometimes they are aesthetic problems and sometimes they are logistical problems.

There's something arbitrary about taking a picture. So I can stand at the edge of a highway and take one step forward and it can be a natural landscape untouched by man and I can take one step back and include a guardrail and change the meaning of the picture radically... I can take a picture of a person at one moment and make them look contemplative and photograph them two seconds later and make them look frivolous.

I was photographing every meal I ate, every person I met, every waiter or waitress who served me, every bed I slept in, every toilet I used.

A work can do many things at once, and it doesn't have to be just about the world, it could also be about photography, it could be about perception, it could be an exploration of the medium. It could be a document, it could be a visual poetry, and it could be a formal exploration all at the same time.

There's something essentially fictive about a photograph. That doesn't mean that if you understand that, and you understand how the world is transformed by the camera, that you can't use the limitations or the transformation to have an observation that is a very subtle perception of the world.