Now what I like is that other artists know my work and are interested in me or want to collaborate.
One of the things I love so much about Valerie [Belin] is that she inhabits her body so completely. She has no self-consciousness about having stretch marks or having given birth. It's just so amazing that she has nothing to hide. Whereas all these other women see every little - supposed - imperfection - anything irregular is seen as an imperfection.
As a non-Catholic, and since I was a child, I have been obsessed with the ritual and the beauty of Catholic art. I look at Renaissance art all the time.
I never, never photograph someone getting high to sell clothes. I was called, at some point, the person responsible for "heroin chic". I didn't have anything to do with "heroin chic".
I have very healthy strong relationships with women.
In '83 I started travelling round Europe with my slide show. It wasn't until I moved to Europe and got accepted in a big way in Berlin in the '90s that I got acceptance by the big art world in New York. I didn't really get to be known, or in the market, til '93 in New York.
In America, more than half the population are overweight. It's not healthy and I'm not proud of that but I don't hate having a woman's body.
When I put my big retrospective together in '96 [for the Whitney Museum of American Art, New York], I saw that there were all these pictures of people inside looking out. All these pictures of women in water and mirrors. I don't know what it means.
I was recently interviewed for radio in relation to the "Thanksgiving" show [2001] at the Saatchi gallery that I was part of. The interviewer said that people in London were very disturbed that I showed a picture of myself battered ("Nan One Month after Being Battered", 1984) and they thought that I set it up. I was accused of deliberately putting on a wig for that particular picture.
Actually, I think what is being shown as beauty in fashion magazines right now has become particularly ugly. This kind of straight, blonde very conservative.
If I do continue to do fashion, I would want to radicalise it.
I had my first museum showing of my slide show in Rotterdam, in 1983. I love Rotterdam. I love harbour cities in general.
I know somewhat about Kate [Moss who featured in the Vogue spread]. I always thought that Kate's look had come from my old friend Siobhan Liddell and some of her friends because they dressed like that about ten years ago. Unconsciously, and right after that, that whole look sort of came out.
I did [heroin] maybe when I was 18 but I got over that pretty quickly.
American magazines are becoming very patriotic beyond belief to the point that I can't live there any more.
In Paris now, when I walk into stores and the shopgirls literally say to me every time, "We don't have anything in your size".
I don't think of Maria Schneider like idol anymore, because I worshipped her when I was young.
I like Stella [McCartney] a lot - she's a very open and warm person. I don't particularly want to know about her background.
I don't know if Yves St Laurent likes my work but Pierre Bergé does.
Stella McCartney is [my] big fan.
I love all the Hollywood women. I saw all the films when I was a teenager. Jack Smith's "Flaming Creatures".
Gena Rowlands is fabulous.
[I influenced by ]the work of early [Michelangelo] Antonioni, Orson Welles and [Carlo] Pasolini, I love [Nicolas Jack] Roeg's film "Performance".
The only time I went out was to go to bars at night and all the pictures were taken with a flash because there was no light at all. However now I'm very interested in light.
I like it [Rotterdam] much better than Amsterdam which is too much like a postcard. It's too cute for me. Rotterdam is more real, it's got a stomach.
