I love people, and photographing people is something I hope I never get tired of.

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.

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.

For me, a good portrait shows the fragility and humility of the person, and at the same time a strength, a resting in themselves.

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.

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.

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.