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.

There is this looking at the world as shapes and patterns and colors that have meaning, and you can't deny the superficial because the superficial is what meets the eye. The content can never be disconnected from the surface, and this active interest in surface can never be disregarded from the good art that we admire.

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

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.

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.

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.

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.