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.

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.

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.

All my pictures are very voyeuristic, but ultimately I'm looking at what lurks in my own interior. I make photographs because I want to answer the question of what propels me to do the things that I do. But that always remains a mystery.

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.

Originally, one of the reasons I was drawn to photography, as opposed to painting or sculpture or installation, is that of all the arts it is the most democratic, in so far as it's instantly readable and accessible to our culture. Photography is how we move information back and forth.

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.