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.

Whatever pictures are put into the world, the balance needs to be readdressed, it needs to be observed. That's why I am also really questioning what a lot of photography has done since I began. I am not saying because of me, but I mean, photographing some friends partying and publishing the pictures meant something else in '92 than it does in 2011. And I find the younger generation is not questioning this at all today.

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

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

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.

I want the pictures to be working in both directions. I accept that they speak about me, and yet at the same time, I want and expect them to function in terms of the viewer and their experience. With these abstract pictures, although the eye recognizes them as photographic rather than painted, the eye also tries to connect them to reality. There's always this association machine working in the brain, and that is why it is important to me that they are actually photographic and not painted.

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