To look without fear is a good subversive tool, undermining taboos.

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

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.

On the one hand I follow a vocation because I have an ability that I should exercise, but I want to use it for a reason, because I don't see that the freedoms that I enjoy are God-given realities. So I have a very healthy, activist general tension in me which feels that no, this is not gratuitous, it is important to keep this in focus.

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.

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.

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.