I think a lot of the work I've done and a lot of the work I'm going to do in the future still ties to 9/11 and the fallout from it.

I think a lot of the work I've done and a lot of the work I'm going to do in the future still ties to 9/11 and the fallout from it.

Sometimes the picture is more interesting than what is going on. Sometimes the picture is suggestive of greater things in society or the history of what might be connected to the theme in the pictures and those are worth exploring.

The travel ban that was imposed by the [Donald Trump] administration is a very direct reverberation of 9/11.

I went out to cover the wars in Iraq and Afghanistan fundamentally [in Buzzing at the Sill] because I was interested in war as a notion and in experiencing it. I was interested in history and how societies form. I was interested in the recent history of what had provoked these wars. So when I finally got out there, I was really seeing the wars through the American perspective, much more than through being embedded with American soldiers and Marines.

You find [reverberations from 9/11 ] in them most unexpected places, like graffiti on a wall. Sometimes it's a faded picture; sometimes it's a newspaper tacked to a wall. Sometimes it's weird paraphernalia related to it, home constructed paraphernalia. It resonates through society and continues to resonate today.

[Buzzing at the Sill] deals with the margins of America, a lot of parts unseen. Well, parts that are seen and familiar to a lot of the populace, but unseen when it comes to the parameters of what mainstream news and popular culture and Hollywood reflects.