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.

I think pure light has something to do with actually seeing everything at once. It's kind of a nirvana of sorts.

Perhaps the first photograph ever taken, Niépce's view of the rooftops over Saint-Loup-de-Varennes, was a truly pure photograph. The second one he took, he was already comparing nature to the first photograph he had taken.

Now that photography is a digital medium, the ghost of painting is coming to haunt it: photography no longer retains a sense of truth. I think that's great, because it frees photography from factuality, the same way photography freed painting from factuality in the mid-nineteenth century.

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.

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.

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.