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

The majority of my work is about preparation.

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

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.

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.

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 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.