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

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.

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.

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

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.

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.