When you organize your work and look back at your entire production, it may feel like you're looking at a straight line, but in fact it's nothing like that. The work is very experimental and most of the time it develops like branches. I usually see a capillary, like a tree shape where there are... branches that sort of move because you're not tending to them.

When someone tells you it’s a grain of sand, there’s a moment where your reality falls apart and you have to reconstruct it. You have to step back and ask what the image is and what it means.

I don't want to fool people. If I wanted to do that, I would be working with virtual reality. I want to operate on the other level, the other end of the illusion spectrum. I want to create the worst possible illusions so it doesn't really fool people, but instead give people a measure of their own belief. It makes them aware of how much they need to be fooled in order to understand the world around them.

The moment when one thing turns into another is the most beautiful moment. A combination of sounds turns into music. And that applies to everything.

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.

In the back of every painting there's an entire universe that makes it possible for the painting to be there: an army of conservators, technicians, people who maintain these things, the market.

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.