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.

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.

I think it's much more radical to see and show things as they look instead of making them somehow subversive through alienation.

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 original interest in making pictures that don't directly depict came around '97 or '98, when I felt there was such an acceleration of images in the world, and that was before Flickr and so on. So I felt a need to slow down how one consumes photographs. With the abstract pictures, I was engaged in trying to find new images, but in practice, it was a bit like throwing a wrench in the spokes. The omnipresence of photography is at a level that it has never been in the history of the world. I feel really curious to now reengage and see what the camera can do for me.