I think there's a gradient that goes from science to art and magic is the middle ground. I think that we're all trying to understand and define the world around us but often it's experimental.

We need saints; we need this head - this talking head - to communicate. Every single religion you have people that go in-between, that can talk to god or communicate ideas. Then there are the talking heads in the news every time we watch TV. No matter how complex, you still need a person there to tell you what happened: a storyteller of sorts. I find that fascinating that we feel so attached to this primitive mode of connection, this primitive interface to the world.

If you find an idea without form, please let me know because I would love to take a picture of it.

A lot of the time you keep looking for beauty, but it is already there. And if you look with a little bit more intention, you see it.

I hate to say I'm a photographer, because I learned photography as I went along. But I also hate to say I'm a painter, a draftsman, even an artist. I think it's good when you're confused about what you are; it means you haven't defined yourself as an artist yet.

I'm not creating art that starts with politics or starts with ethics. I feel I am a conceptual artist because my art is more concerned with epistemology than ethics or politics or even aesthetics.

Only in the 20th century, artists started taking the study of perception in a more humane way. They were thinking about the eye as being an instrument, the whole body as being a visual instrument. That sort of gave way a little bit with Cartesian­ - the "Cogito ergo sum" argument. It's not, "I think therefore I exist." It's, "I feel therefore I think therefore I exist."