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

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.

What most artists using photography feel that they need to do is to show that they are serious, that they are not taking snapshots. To point a camera at something does not qualify you as an artist because everybody has done that.

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.

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.

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.

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.