Around 2007 I had started a personal project photographing animal parts as still lifes. I photographed sheep hearts and a few other pieces, in black and white and then later in color. For Black Ink I wanted to take it further, doing all the parts, the offal—really beautiful still lifes, but still slightly deconstructed. So instead of shooting a completed, cooked veal terrine, I made a still life with the ingredients—the brain, the cognac, and the seasonings. I kept the light very stark, with no real shadows, so that it almost feels as if you're under a fluorescent light. It adds to a quality that's a little bit clinical, a little bit sterile.