I often have to feel my way through the alternatives. The 99-cent store is attractive because it offers objects that aren't promoted in glossy magazines. The work then becomes a form of alchemy.

Tactility was rejected in conceptual photography. I embrace the possibilities of my medium. Surface, texture, and tactility is something analog photography can do well, or it is something I can do well in analog photography. It can be hard to know what or who is in control.

I often have to feel my way through the alternatives. The 99-cent store is attractive because it offers objects that aren't promoted in glossy magazines. The work then becomes a form of alchemy.

I like to put a single photograph in different contexts, to see how it takes on other meanings, how being locked in a new dialogue exposes another potential. It's like dating other people in order to get to know yourself.

I've found that photographs from different genres can be extraordinarily generous with each other. I started out photographing myself in a landscape, moved on to landscapes with and without other people, and then onto buildings, still lives, portraits, and body parts in rooms. If certain aspects of my production are getting more attention right now I think it is directly linked to a general absence of dreamed bodies in contemporary art. Viewers who mainly follow fashion have most likely not noticed this lack.

It's easy to play fun forms, surfaces, and languages against each other. Teenagers do this every day, producing winning memes from random patterns. I need the joke to hurt more; I want it to sink deeper than the postmodern grin.

I'm experimenting and pushing as far as I can. I typically don't know what I was aiming for until I see what I ended up with. Then I can study and choose.