You have this ambition to make something perfect, exactly right. Of course, necessarily, it fails in some way and you have to accept that for what it is, and then you're on to the next thing.

Making that final commitment is really hard. Because once you decide to move forward, it becomes a whole process which is really hard to stop.

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.

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.

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

There's a parallel between me going through these enormous efforts to try to make a moment that means something - and in a way, the figures are doing the same thing. There is that parallel, for sure.

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.