As Estelle Jussim wrote, it is almost impossible for a single photograph to state both the problem and the solution.

It is not without trepidation that I have appropriated the codes of the Sublime and the Picturesque in my work. After all, serious photographers have spent most of this century trying to expunge such extravagances from their art. The tradition lives on, mostly in calendars and picture postcards. I was challenged to rework and revitalize that which had been so roundly denigrated.

While making my picture window photographs, I came to think that every room was like a gigantic camera forever pointed at the same view.

Photography, of course, is the perfect medium for the investigation. It can reveal the truth of present day specifics and particularities, while at the same time, by conscious choice of lighting and pictorial structure, suggest the aesthetic legacy of the past.

I became wary of simple interpretations that assumed fixed and final meanings.

People think the camera steals their soul. Places, I am convinced, are affected in the opposite direction. The more they are photographed (or drawn and painted) the more soul they seem to accumulate.

I have been using the art of photography to research the ways in which the pictorial strategies of the Nineteenth Century color the way in which the American landscape is apprehended by today's viewers.