There's a parallel between me going through these enormous efforts to try to make a moment that means something - and in a way, the figures are doing the same thing. There is that parallel, for sure.

All my pictures are very voyeuristic, but ultimately I'm looking at what lurks in my own interior. I make photographs because I want to answer the question of what propels me to do the things that I do. But that always remains a mystery.

I think that's the nature of representation. No matter what it will disappoint, it will fail in some way.But that's also part of the magic of art. If every picture met my expectation in exactly the right way, there'd be no mystery; there'd be no gap between what's in my head and the picture I make.

My pictures must first be beautiful, but that beauty is not enough. I strive to convey an underlying edge of anxiety, of isolation, of fear.

We all strive to find moments of clarity, of order.

In "Twilight," the narratives are more literal, and the event is much more spectacular. The pictures in "Beneath the Roses" are much more psychological and grounded in reality.

My father was a psycho-analyst and I think that fact was very influential on my development as an artist. Trying to search beneath the surface of things for an unexpected sense of mystery.