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 think I'm an ambitious artist but you have to understand the measure of your influence on people. You're not going to change people's lives with your art. What you do is you give them a little pat so that you change the course of the direction that they're going.

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.

I think that the development of any culture has something to do with the way people deal with the concept of illusion. The fact that the sound of my voice and the way I modulate it creates pictures in your head... in order for us to accumulate knowledge, we have to create symbolic exchanges that let ourselves be fooled temporarily by something that's not there - by a substitute for reality. When you talk about representation, you're talking about language.

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.

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

It's not about fooling somebody, it's actually giving somebody a measure of their own belief: how much you want to be fooled. That's why we pay to go to magic shows and things like that.