I see my practice as picture making. Whatever is available, I use.

Growing up in the '80s, questions of style and music and youth culture all seemed inherently political - like gay rights issues, dressing up, wearing makeup, arms protests. A lot of attitude and opinions were expressed through clothes, and they all were meaningful. So in that way, I was so excited about the connection between our private lives and politics - who I kiss, how I like to dance.

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.

This coincided with the fall of the Berlin Wall and Europe coming closer together, and nightlife and techno and ecstasy culture seemed like a very powerful panEuropean movement.

My work is aimed at creating a world in which I wish to live. Consequently, it is about creating ideals with the aid of realistic techniques. My most fundamental motivation is a desire for unity, fusion and sense of community.

Sometimes it takes a long time for a picture to incubate. And every time I do that, the rewards are so much bigger than what I would have gotten if I had only done the same as I always do. So each time I make an effort and I get out of a lazy routine, it's amazing how big the reward can be. It's listening to those little ideas knocking on the door in your mind.

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