After 9/11, we had to look at the world differently. After 9/11, we had to recognize that when we saw a threat, we must take it seriously before it comes to hurt us. In the old days we'd see a threat, and we could deal with it if we felt like it or not. But 9/11 changed it all.
What a photograph shows us is how a particular thing could be seen, or could be made to look - at a specific moment, in a specific context, by a specific photographer employing specific tools.
In the early '90s I was floating somewhere between the Brat Pack/Andrew McCarthy/James Spader/Pretty In Pink kind of stuff and the alterna-pop look, crossed with a very distinct grunge sensibility.
Eventually we grow weary of seeking treasures outside
ourselves and we begin to look within. There we discover
that the gold we sought, we already are.
In an age where there's so much active misinformation and its packaged very well and it looks the same when you see it on a Facebook page or you turn on your television. Where some overzealousness on the part of, you know, a U.S. official is equated with constant and severe repression elsewhere.
In a world of fixed future, life is an infinite corridor of rooms, one room lit at each moment, the next room dark but prepared. We walk from room to room, look into the room that is lit, the present moment, then walk on. We do not know the rooms ahead, but we know we cannot change them. We are spectators of our lives.