Books have this function that help me to understand the work I've done, to wrap it up. Once it's done, fortunately, it doesn't mean there's closure. Change in my work happens not in revolutions - it's more evolutionary.

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 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.

Now there is such a closed loop between realness and commercialism that one has to question why do more and more and more of those pictures. It's almost like everybody deserves a book about themselves, and everybody deserves a whole issue of Vice magazine devoted to them.

Boy George of course, was my idol as a teenager. I haven't photographed him, even though I know him now. He wants the pictures to be retouched, and I don't want that.

I think it's much more radical to see and show things as they look instead of making them somehow subversive through alienation.

I think there is something very consoling in feeling lost in space but also feeling grounded, and seeing that all of this is part of a bigger clockwork