This act of piss, which can be considered sexual by some, a pleasurable experience, is at the same time total disrespect. I had once asked a friend to do this picture and he totally refused. So I carried the idea around with me for years. When I was invited to do a Honcho shoot, I approached Phillip, who was the barman at The London Apprentice, and fortunately he knew who I was. He had a copy of my first book, and that broke the ice. At the end of the shoot with him, I realized I could ask him to do this picture. I had waited four years to do it.

A photocopier is a camera in its own right. I was fortunate to grow up in the time and culture that I did. I was allowed to develop an awareness that the art that really moves me is actually based on an original image.

The true authenticity of photographs for me is that they usually manipulate and lie about what is in front of the camera, but never lie about the intentions behind the camera.

Big ideas don't make them selves known as big. They begin with the little, ridiculous ideas that most people would discard or reject. Every successful picture I've done has really been based on taking a very flimsy, fleeting little idea, grabbing hold of it, and taking it seriously.

My staged work looks so real that people actually take it for documentary. But, in fact, that is my intention, to disguise the manufacturedness of it. Half of my work, or probably more than that, is staged.

I love people, and photographing people is something I hope I never get tired of.

This ongoing coexistence which makes life sensational. The eyes have this ability to flip around what they see from one second to another, to see something as an object, and then as a design. That's really liberating, and I try to convey that in my work, that your eyes are free and you are free to use them.