I think what I'm trying to do is create moments of recognition. To try to detonate some kind of feeling or understanding of lived experience.

If I bring up political power, personal power, it sounds like they're my terms, and they're not.

I think I developed language skills to deal with threat. It's the girl thing to do-you know, instead of pulling out a gun.

I think that the exactitude of the photograph has a sort of compelling nature based in its power to duplicate life. But to me the real power of photography is based in death: the fact that somehow it can enliven that which is not there in a kind of stultifying frightened way, because it seems to me that part of one's life is made up of a constant confrontation with one's own death.

I'm trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.

Do you know why language manifests itself the way it does in my work? It's because I understand short attention spans.

Images are made palpable, ironed flat by technology and, in turn, dictate the seemingly real through the representative.