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

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.

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.

I have always been fascinated by the poetic condition of twilight. By its transformative quality. Its power of turning the ordinary into something magical and otherworldly. My wish is for the narrative in the pictures to work within that circumstance. It is that sense of in-between-ness that interests me.

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.

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.

It is really important to have an obsessive need to construct something, to understand something from your own experience.