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.

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.

I think this is the most exciting time in the history of photography. Technology is expanding what photographers can do, like the microscope and the telescope expanded what scientists could do.

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

... despite the limitations and problems inherent to photographic representation (and especially the representation of politics), it remains for me the most powerful and engaging medium today - one central to the development of cultural dialogue.

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

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.