'Unlike other members of her generation, Sam Taylor-Wood prefers the use of very carefully conceived strategies. Photography or film is never used in its direct, unpolished, snapshot-like form. In her films and photos persons from the London scene do appear, but in her work she never does what Nan Goldin does create an epic of her generation. Neither does she want to follow in the footsteps of other Brit Pack representatives, like Tracey Emin and Sarah Lucas, and convey the unmediated revelations of her own life. Taylor-Wood situates herself explicitly in a very English tradition of theoretical and intellectual reflections about art and its functioning'
(H. Visser, quoted in Sam Taylor-Wood, exh. cat., Stedelijk Museum, Amsterdam 2002, p. 12).