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.

The viewer is more likely to project their own narrative onto the picture.

I never know what to call the subjects in my pictures because I'm uncomfortable with the word actor. I think maybe subjects might be more accurate - or maybe even more accurate is objects.

If my pictures are about anything at all, I think it's about trying to make a connection in the world. I see them as more optimistic in a certain way. Even though it's very clear there's a level of sadness and disconnection, I think that they're really about trying to make a connection and almost the impossibility of doing so.

The suburban landscape is alien and strange and exotic. I photograph it out of longing and desire. My photographs are also about repression and internal angst.

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.

What's important to me is that there's a necessary alienation between me and the subject. I don't want to know them well. I don't want to have any intimate contact with them.