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.

The whole reason I make these pictures is for those moments of clarity. For that single moment, everything seems to make sense in my world. And I think we all look for that in our lives, because our lives are generally filled with chaos and confusion and disorder and complication.

I think that, in a sense, there's something about photography in general that we could associate with memory, or the past, or childhood.

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.

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.

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 mom just recently reminded me that I used to build these little miniature worlds outside at our country house and populate it with little figures.That whole thing [shooting is] about trying to create a world - there's something very connected to childhood and reverie and daydreaming and fantasy.