“When I first started making photographs, I was fascinated by documentary efforts to catalogue social and economic problems of the 1930s and the occasional successes of social reforms. With time I learned to back off from the world and let it reveal itself to me, and as I did, each project became a distinct challenge to see beneath surface relationships. As the work progressed and I became more conscious of my method, I was able to experiment with ways of sharing control over the image-making. The active dialogue between the photographer and the subject (and inevitably the viewer) became for me the essential point of a photograph. Beyond esthetic choices, I came to see photography as a language to which everyone has access.”
From the PHOTOGRAPHY AND SOCIAL PRACTICE broadsheet, May 2014.
