There's a desire for me in the work, even when I'm looking at the past, to be looking from the present. It's to be here now. It's looking in the present tense.

The world feels overwhelming to me on every level. Just the number of organisms that live on this planet. Our politics, our violence, psychology, emotions; there's just a lot going on, right?

When people look at a photograph, they believe it... My photographs crawl along that edge. I document the world, but from my own biased point of view.

The career has to support the making and can offer a platform, can offer you a voice in the world. And that's an incredible thing. But it's complicated and seductive and weird and tricky. I think you have to keep figuring that out your whole life.

Making work for me is being in the world, but it's also being specific about being in the world. I'm interested in this increasingly rare space of contemplation and taking the time and energy to be thoughtful.

I grew up in Harlem, but I moved to the Lower East Side when I was a teenager and it was ... I feel like when I try to describe it, it doesn't sound believable. It just sounds like you're lying. And I see it on the faces of my younger friends.

We're all busy. It's a very fast-paced world. And art - and by that, I mean culture in a wider sense - is one of the few spaces where we're allowed to look and think without an immediate response or reaction.