Los Angeles functions for me as a kind of holy template. It is postwar America.

We have not only the right, but a specific duty, to honestly and unflinchingly look at all aspects of our world, both the one we create as humans and the one we are lucky enough to inhabit as a species.

I have a profound passion for the act of flying. It's very freeing, with an intense physicality, but it also gives an Olympian, god's-eye view, which fuels a larger cerebral and structural analysis.

I come at a subject from a profoundly photographic level. I am not interested in pictures that ultimately don't work as pictures.

I struggle against photography. I struggle against the fact that it is silent, that it is just a piece of paper on the wall, often presented in a tedious white matt frame.

I am a photographer who likes to make images, but I also want to get a sense and understanding of images that have already been made. I don't fabricate worlds; I pay attention to the things that already surround us.

I'm attracted to the garden, without a doubt, but I always try and image the wolf that's there, too. And that wolf would be us. It's not that we're malevolent or evil - we're marvelous, fantastic, tool-bearing beings and capable of so much - but there are so many of us, and we don't tend to take responsibility for what we do.