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.

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.

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.

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.

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.

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