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.

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.

It's about finding meaning through light. I'm always interested in tensions. A primary one is the collision between the familiar and the strange.

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.

I was really fixated when I was a child. Again my mother was just talking to me about this, about how I would how try to get details exactly right. I guess I was always very persistent.

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.

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.