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

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.

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.

Photography's ability to blur truth and fiction is one of its most compelling qualities. But when misused... this ambiguity can have severe, even lethal consequences.... Photography's ambiguity, beautiful in one context, can be devastating in another.

You come to the photograph as an aesthetic object with no context... Then you step in and read the text and then out again to revisit the image in a completely different way. I'm interested in that space between text and image. The piece becomes the negative space between the two.

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.

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