I only ever take one picture of one thing. Literally. Never two. So then that picture is taken and then the next one is waiting somewhere else.

Well, probably the best way to put it might be that at some time, not just in an instant, but over some period of time I became aware of the fact that I wanted to document examples like Kroger or Piggly Wiggly in the late '50s, early '60s.

Half voluntarily, half Winston's older brother [William] would take me in, saying, "Daddy, I think you oughta do this." And I'd say, "I think you're right, maybe I do need it." Sometimes a week later I'd leave the place; sometimes I'd stick it out for a month.

I would go there quite frequently. I met and became close with John Szarkowski of the Museum of Modern Art. He was incredibly supportive about me working in color.

I don't have a burning desire to go out and document anything. It just happens when it happens. It's not a conscious effort, nor is it a struggle. Wouldn't do it if it was. The idea of the suffering artist has never appealed to me. Being here is suffering enough.

Only the few times I've been to so-called treatment centers, which were a complete waste of money and useless. I didn't know what I was doing at the time, because I was always drunk when I checked in.

There is no particular reason to search for meaning.