I find fashion magazines so incredibly boring . . . There still is no new photography and no new concerns.

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.

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.

For example, you now look at pictures from 1968, they are hugely misleading in terms of standing in as an absolute image of the time. Because maybe two percent of the people looked the way that we now associate with that time. I was also aware that what I was aiming for is an idealized, utopian version of how people could be together. I found photography to be a very powerful tool because as long as it looks real, it is perceived as real.

I am interested not in individual readings, but in constructing networks of images and meanings capable of reflecting the complexity of the subject.

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.

What I'm interested in is happiness with a full awareness of the tragedy of life, the potential tragedy that lurks around every corner and the tragedy that actually is life.