Even in its darkness, it has this picturesque element. It's something about the human condition. It's not the water itself-it's humanity's relationship to water, because that’s almost a human need, that water be a positive force.
You use metaphor to make yourself feel at home in the world. You use metaphor to extinguish the unknown. The problem is the unknown is where I want to be.
Usually, the subject matter of the image is not the subject of the work.
As is often said of photography, this photograph is a frozen moment. A frozen moment is not a moment at all.
I understand all the work to be of a nonabstract nature regardless of the style, form, or explicit subject matter because all the work... is concerned with evoking experiences that are in themselves - and their relationship to you, the viewer - the ultimate subject and content of the work. I want to equate the experience of the work with its meaning.
The social order of things has demanded an emphasis on the differences between gender that do not in my opinion in fact exist. I’m not going to go around putting pronouns on everything. Things are often deeply compromised by the set of assumptions you bring to the world, which is this black or white, this male or female.
A non-analogue image has an extremely compressed life. It starts as this and, in increasingly short time spans, becomes that.
After a few days [in Iceland] I tried to take a photograph. But with my attempt to distinguish the first shot, the place disappeared on me.... I hadn't been in Iceland long enough to simply be there.
