Making photographs can be a way for me to bring something up and into consciousness, something either shared or individual.

I'd like the photographs to potentially be meaningful to a wide range of people. They do not grow out of the reportage mode, this was always clear to me. Personal imaginations blend into each other and create our visual cultures. No one is a neutral observer of this field.

I've found that photographs from different genres can be extraordinarily generous with each other. I started out photographing myself in a landscape, moved on to landscapes with and without other people, and then onto buildings, still lives, portraits, and body parts in rooms. If certain aspects of my production are getting more attention right now I think it is directly linked to a general absence of dreamed bodies in contemporary art. Viewers who mainly follow fashion have most likely not noticed this lack.

I like to put a single photograph in different contexts, to see how it takes on other meanings, how being locked in a new dialogue exposes another potential. It's like dating other people in order to get to know yourself.

Initially I borrowed the word “perverse” from Roland Barthes, meaning pleasure-driven and not geared to inform or promote a service or a product. An unproductive photograph designed to keep you in the process of looking is of course something larger than an expression of aberrant sexuality.

I often have to feel my way through the alternatives. The 99-cent store is attractive because it offers objects that aren't promoted in glossy magazines. The work then becomes a form of alchemy.

I'm experimenting and pushing as far as I can. I typically don't know what I was aiming for until I see what I ended up with. Then I can study and choose.