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 meet young artists and it becomes clear that with some the main motivation is getting a show in Chelsea. It strikes me that this is very different to the way it was for me, which was that I wanted to understand photography and the world and myself.

I don't know how much a photograph can add to a biography, the way a film or writing or narrative medium could. Because it's a frozen image.

Photographers have to impose order, bring structure to what they photograph. It is inevitable. A photograph without structure is like a sentence without grammar-it is incomprehensible, even inconceivable.

I think I misunderstood Instagram and just thought it was people photographing their friends, and discovered there were a number of people, a number of artists, who were taking it very seriously and doing very imaginative work with Instagram as the medium.

I had a creative hot streak in the 1940s and since then I’ve been pot boiling.

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.