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

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

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.

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.

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.

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

I am not unaware that I have the mindset, as contradictory as it may sound, to discover in the world what I am in fact looking for. Perhaps the best pictures are a seamless hybrid of discovery and construction.