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In a portrait, you have room to have a point of view. The image may not be literally what's going on, but it's representative.

In a portrait, you have room to have a point of view and to be conceptual with a picture. The image may not be literally what's going on, but it's representative.

I'd always maintained an image so that people wouldn't approach me.

I think it's somebody else's job to decide what my image is.

When I designed my loft, I literally framed the World Trade Center as a picture postcard I could see from my bed. I no longer have that image, and I mourn it.

I don't think I have any set image, and I don't want one. If I think I'm getting a particular image, I try and break it. I find it very important to keep the audience guessing and keep them on their toes.

One way to test a picture's integrity is to turn it upside down - a technique used not only by connoisseurs but also by artists trying to see their work with a fresh eye.

We demand that people should be true to the pictures we have of them, no matter how repulsive those pictures may be: we prefer the true portrait in all its homogeneity, to one with a detail added which refuses to fit in.