I think my relationship with life has changed - I want to make more complex images than before. Complex in the sense that I try to put in a lot of information, sometimes contradictory information.

I want to be a contemporary artist and at the same time a romantic!

You never know who will see your images hanging. And I like that. I think you never really have control over the things that you do.

I prefer to give a dollar to a thousand people.

In memory of Emily we would like everyone to go out and do random acts of kindness, random acts of love to your friends or your neighbors or your fellow students because there is no way to make sense of this. It's what Emily would have wanted.

Face, to me, is a metaphor of sadness. And I want to share this sadness. I'm not really interested whether it's an Indian face or not - that's not as important for me. But it's still important to establish the relationships in order to bring about a consciousness of our fragility.

Usually the Indian people are outsiders who have to look up at the people who look down.

I think it's impossible to know the destiny of things.

When you're somebody who has the pretension to make art, it's completely different from when someone else says I want to make a book of your art. You don't decide the title, you don't decide the size, the order of the photographs . . . so it's completely out of control!

If you can explain a poem, it is not a poem. Poetry has to be inexplicable.

To have a museum like the Museum of Modern Art in New York is to have power. I don't have any interest in being the director of an institution that has power.