My very first series was developed in black and white, first in my bathroom, then in the cellar. A revelation, in every sense of the word. During a first trip to New York of barely a week, a photo emerged that I would call iconic: a figure painted on a wall, recalling Edvard Munch's The Scream. Back in Brussels, I was captivated by this photograph, taken on the fly in a single click. A unique, striking image. At that moment, I knew I had something, a subject I could work on.

I already wanted to see the Big Apple again and photograph every portrait scattered across the city. In the end I only went back a year later. In the meantime, I champed at the bit in Brussels. On television, I discovered the same kinds of portraits. I watched film after film by the directors who fascinate me: Jean-Luc Godard – one of my greatest inspirations for 20 years – John Cassavetes, Ingmar Bergman, Alfred Hitchcock and François Truffaut.

I realised that photography is probably the only art that can freeze time and space. The film lover sits still in front of moving images, and the pedestrian wandering through the city no longer sees the still images on the walls that have become part of the scenery. Photography makes it possible to suspend time in both these spaces, and so reveal overlooked moments.

The series was exhibited in Brussels and was well received. I got constructive and motivating critical feedback. Later, when I arrived in Beijing and Hong Kong, I continued this series of portraits scattered through the city. An exhibition was also held in Beijing.