Since a photograph is frozen and mute, since there is no before and after, I don't want there to be a conscious awareness of any kind of literal narrative. And that's why I really try not to pump up motivation or plot or anything like that.

I think maybe the figures - that's a good word - the figures in my pictures are stand-ins for my own need to make a connection.

Every artist has a central story to tell, and the difficulty, the impossible task, is trying to present that story in pictures

I'm very moved by the fact that people are drawn into the pictures and that they do bring their own history and their own interpretation to the photograph. I think that's why they work in a certain way.

Since a photograph is frozen and mute, since there is no before and after, I don't want there to be a conscious awareness of any kind of literal narrative. And that's why I really try not to pump up motivation or plot or anything like that.

I really love that dynamic between beauty and sadness...theres always these moments of quiet alienation, the sense of disconnect, but also, these moments of possibility.

I do think that dread is about a certain kind of expectation. And the fact that a picture can never resolve itself the way a movie can - maybe that's a specific kind of dread that becomes associated with a picture.