The photograph doesn't claim to be a participant, or to know, or to be a club member of whatever it's documenting - photography is more demanding when it doesn't pretend to know.

In my work, I construct texts and images. Between those two points the blur occurs. Each is altered by the other again and again, back and forth.

My work is drawn to the political but avoids an agenda. There is no inherent critique or support.

I'm designing a seductive frame to attract an audience to a subject they would otherwise ignore. And that's what I do in all of my photography - give a stage to things that wouldn't normally receive that stage.

Photography's history is bound to the mistake, to the accident.

The majority of my work is about preparation.

I'm interested in the murky areas where there are no clear answers - or sometimes multiple answers. It's here that I try to imagine patterns or codes to make sense of the unknowns that keep us up at night. I'm also interested in the invisible space between people in communication; the space guided by translation and misinterpretation.