Most people’s first experience of Juergen’s work is his commercial stuff, like his projects with Marc Jacobs — does that matter?
"I think that’s exciting, because it shows the great potential for images to reach people and their ability to flood the world. What’s interesting about this exhibition is that the more you look, the more you begin to see this it doesn’t matter how they’ve reached us, what matters is that they have become iconic images that map out our time. The one of Bjork and her son, which was an old Face magazine shoot is a great example of something that transcends its origin."

You’ve know each other since the ‘90s. What is it about his work that makes it stand out to you?
"He doesn’t make a big flash, bang, wallop kind of image that’s heavily staged and over-bearing. He avoids that by talking directly to the subject. The more time I’ve spent with the work, the more I lean toward appreciating the images as ones of great sensitivity. I think Juergen’s images ultimately engage us in the same way that he engages his subject. We can’t help but be drawn in."

Bjork and Son, Iceland 1993; photo courtesy of Juergen Teller/ICA