What attracts me in photography is not so much a fine arts approach, but rather photographs as documents... All the ways in which human beings have documented the world in an attempt to order it, in an attempt to consume it or rule it or hang on to it in some sense.

When people look at a photograph, they believe it... My photographs crawl along that edge. I document the world, but from my own biased point of view.

We're all busy. It's a very fast-paced world. And art - and by that, I mean culture in a wider sense - is one of the few spaces where we're allowed to look and think without an immediate response or reaction.

I'm in all of my work, and there's nowhere to hide when you make work.

After the First World War, it was, like, let's form the League of Nations, we have to learn to work together. It's the only way we're going to survive. And now it's like we're undoing these very fragile institutions that were built after the First and Second World Wars that were about nations working on a kind of global diplomacy for our mutual benefit. And we're undoing them at such rapid-fire pace.

I choose to work behind the camera. And I kind of want to make the work and then run away. The presentation of myself really feels complicated for me.

I think making things that appear simple is incredibly hard.