I put all of the photographs up in my studio on the walls. I began to live in the world of those photographs, and I would walk past the photographs just like I might walk past a tree or a corner in the actual physical world. And I moved in ways that the work was dictating I move. And it allowed me to exist not in the physical world but in the world, the physical world described in photographs. And as I did that, I began to discover things.
There is a distinct physical dimension that is very, very singular, that's being described in these photographs. In general terms, we'd think of it as vantage point, but what it's saying it's announcing where you are when you're looking at these photographs, and it's forming a kind of contention between us the viewer looking and the scene that they're looking at. And there's a play between those two things that forms a certain kind of content in the work, and it is the connective tissue that runs through the whole project.