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.

I want to see everything. I guess the positive version of not seeing or not knowing would be preservation of fantasy.

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.

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.

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.

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

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.