My pictures are not really about the children that I photograph. They're more like actors in a film. I think you can always recognize the children, but they are alienated from their real appearance and become more like metaphors.
[My subjects] look lost because that is how I see life. I think we are all a bit lost, lost in a world we can't understand.
Childhood has been idealised as a lost garden paradise to which we can never return. We are excluded from this world of carelessness, innocence and unity. But the imaginary kingdom is nothing more than a projection of adult ideas and concerns onto the image, an expression of our own yearnings. By photographing children alone, divorced from any social setting, I allow them to exist on their own...I am exploring the equivocal connection between self and world.
I still think as a painter - especially in terms of structuring a picture... I carefully choose the models, costumes, requisites, and backdrops of my photographs.
The images are compositions of photos superimposed over painted backgrounds, then finished off with digital alterations.
I don't care about traditional photography. I want more control.
I trained as a painter, and I still love painting, but eventually I became aware that the physical aspect of painting didn't really suit me. I didn't enjoy working in the medium. It's very messy. I prefer to have it clean, with a nice computer.
I use different media, but I still think as a painter. I organize my forms and colors on a screen like a painter does on a canvas.
Usually I work with a digital camera and compose my works digitally or give them a finish on the computer, in order to make them meet my ideas perfectly.
