The things that are close to you are the things you can photograph the best.

Some of my pictures are poem-like in the sense that they are very condensed, haiku-lik. There are others that, if they were poetry, would be more like Ezra Pound. There is a lot of information in most of my pictures, but not the kind of information you see in documentary photography. There is emotional information in my photographs.

I like to make people a little uncomfortable. It encourages them to examine who they are and why they think the way they do.

If it doesn’t have ambiguity, don’t bother to take it. I love that, that aspect of photography - the mendacity of photography. It’s got to have some kind of peculiarity in it, or it’s not interesting to me.

I think truth is a layered phenomenon. There are many truths that accumulate and build up. I am trying to peel back and explore these rich layers of truth. All truths are difficult to reach.

I struggle with enormous discrepancies: between the reality of motherhood and the image of it, between my love for my home and the need to travel, between the varied and seductive paths of the heart. The lessons of impermanance, the occasional despair and the muse, so tenuously moored, all visit their needs upon me and I dig deeply for the spiritual utilities that restore me: my love for the place, for the one man left, for my children and friends and the great green pulse of spring.

As an artist your trajectory just has to keep going up. the thing that subverts your next body of work is the work you've taken before.