The one thing that seems to be consistent through all my work that I like, and I experimented a lot, is the viewer is allowed to meditate on something that normally we don't stop and stare at, whether it's people or a cactus.

In spite of recent trends towards fabricating photographic narratives, I find, more than ever, traditional photographic capture, the 'discovery' of found narratives, deeply compelling.

The desert ... may serve better as the backdrop for the problematic relationship between man and the environment. The human struggle, the successes ... both noble and foolish, are readily apparent in the desert. Symbols and relationships seem to arise that stand for the human condition itself.

Our experience with knowledge, the way we know things, is not that neat. It doesn't fit into a grand narrative, the way we've been taught to read.

Whatever else a photograph may be about, it is always about time.

I've come to believe that beauty can be a very powerful conveyor of difficult ideas.

To me, the work I do is a means of interpreting unsettling truths, of bearing witness, and of sounding an alarm. The beauty of formal representation both carries an affirmation of life and subversively brings us face to face with news from our besieged world.