Usually I'll drive to certain locations over and over again, over a course of months really. And then it might just be I hit it at the right time, and the right light. And then I might go to that location over and over again, and then what happens in that lag time where - the image sort of locks in - all of a sudden I see it in my mind's eye.

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

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.

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.

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.

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.