Life and art are not two different things.
I've always gone for a kind of perfection.
I'm not interested in telling a story in my photographic work. I'm more interested in freezing certain moments in time.
Any work that is really great hovers between terrific and terrible.
I always try so hard to find a male doll and shoot a male doll, and it always kind of implodes. Whenever I use men, they're so scary and so dark, and I can never find this sort of lightness or this place between doll and human that I find with female dolls.
I feel like I spent so much time trying to understand my identity and my identity as an artist. But when all is said and done, at this age, I feel the most like I felt when I was 11. And all those talents I had when I was 11 and 12 - I'm letting them sort of happen again. I can't speak for men, but for women - we go back to a kind of pre-adolescent state when we were superfree and supercool.
The challenge has always been to wrest emotion out of a [doll's] face that we think of as only having one emotion. It's moving a light, moving my camera; it's just this mental investment that I make, and suddenly, everything changes. Parenthetically, I have to say, I don't particularly like dolls, nor have I ever liked them. That's something I really wanted to get out there right away.
I saw the movie, 'Crouching Tiger, Hidden Dragon' and was surprised because I didn't see any tigers or dragons. And then I realized why: they're crouching and hidden.
People get the government their behavior deserves. People deserve better than that.
If, at some future point, my face collapses around my eyes, I'd probably do something about it. My eyes are where I live, and if people couldn't see them, no one would know me.
I like to mix and match things so I'm infusing a little bit of jazz, a little bit of classical, a little bit of soul, into the whole blues idiom and I'm coming up with something that I'm really interested in.