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

The majority of my work is about preparation.

Simulations directly relate to the process of and complications in photography. They also overtly create layers of fantasies, myths and interventions... The simulation confuses the idea of a truth. I've always been interested in this kind of theater and illusion at the foundation of belief.

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

Archives exist because there's something that can't necessarily be articulated. Something is said in the gaps between all the information.

There is no truth in photography. One can't reproduce an absolute truth. That said, I don't see [my photographs] as being any less truthful than any other photographs.

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.