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.

One of the things that was really influential early on was Ezra Pound's Cantos, one poem he worked on for 50 years. It's epic. I had a great deal of difficulty understanding it. One of the problems was you'd be reading along in English and he would move to a Chinese ideogram or French-he actually used seven different languages in a given poem. And for somebody who's not fluent in different languages it has the impact of rupturing your way of understanding something.

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

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.

People have responded to the pictures I make as mystical things, and they somehow carry the illusion further thinking that the place is this mystical, magical place. The desert is also a very barren place, a very lonely place, a very boring, uneventful place.

I'm not interested into victim photography. Photographing people suffering and putting it on a museum wall is too weird.

The very act of representation has been so thoroughly challenged in recent years by postmodern theories that it is impossible not to see the flaws everywhere, in any practice of photography. Traditional genres in particular-journalism, documentary studies, and fine-art photography-have become shells, or forms emptied of meaning.