To see something spectacular and recognise it as a photographic possibility is not making a very big leap. But to see something ordinary, something you’d see every day, and recognize it as a photographic possibility - that is what I am interested in.

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.

I know that people think of my work from the '70s as American, but I've been going to other places for a long time.

Even in ordinary reproduction [photography] verges on facsimile.

If I only try to solve the problems I set for myself, then I'm limited by what I can conceive of. I can't solve a problem I can't conceive. But if someone else gives me a visual problem, it can be out of the whole realm of my normal practice.

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.

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.