From the grainy black and white landscapes, which resembled photographs, the move to photography in the late seventies was obvious and seamless. I began doing photography in Paris. I only practiced it for five years. Photography was faster than drawing or painting, and I liked that. Photography was important for me if only to find out that darkroom wizardry and speed were not enough for me or my subject matter. I photographed empty outdoor cinemas and parks, and my own stage sets in my studio, which I repainted white before starting the next project. A sense of place was always necessary. I printed these images on large, light-sensitive canvas. I applied the developer, stopper and fixer with spray techniques, mops and brooms, I used my hands and body, I dripped and spattered and solarized. I also painted on x-rays, which was a way of traveling into the body’s landscape. The results were hugely satisfying for me and, I believe, ahead of their time.