For me, a good portrait shows the fragility and humility of the person, and at the same time a strength, a resting in themselves.

The mobility of the eye is such a fundamental treasure that we have, and that coexists with sensation. On the dance floor, you are totally in reality, while also experiencing this dream imagery of changing colors and wet surfaces of skin. Sometimes it's the shadow outline in the strobe light, and in another moment it's the closeup of an armpit that you're looking into. I'm not photographing all the time, but it's something that I actually see all the time, and not just on the dance floor.

The picture of the guy pissing on the chair was a picture I had to do. I had the idea of this absurd act of pissing on a chair rather than in a toilet or on the ground, and this minimal act being so transgressive, even though no major harm is done.

What most artists using photography feel that they need to do is to show that they are serious, that they are not taking snapshots. To point a camera at something does not qualify you as an artist because everybody has done that.

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.

To look without fear is a good subversive tool, undermining taboos.

For me, a good portrait shows the fragility and humility of the person, and at the same time a strength, a resting in themselves.