What happens behind the lens rarely leaks into the image. In my photographs I deliberately make the viewer aware of this division by creating sets that include and embrace the camera and the equipment needed to produce the image. In fact, the behind-the-lens paraphernalia often completes the narrative in my photographs.

There Are No Easy Answers shows a ramshackle stage set with a brown-leatherette desk chair facing a classic Eames molded-plywood chair. A spotlight is pointing at eye level from the desk chair at its counterpart. The reflector   used to light up the scene also creates the meaning of the image. By adding the light the photograph not only becomes possible in technical terms (without light there is no photography) but changes a benign stage set into an interrogation chamber. It's as if drab industrial brownness is demanding a definitive answer from design and culture.

Private Collection depicts a classic modernist chair confined by a pair of close-set walls. The wall facing the imaginary sitter is covered with luxurious red damask and adorned by sumptuously framed oil paintings. The camera is set far enough away from the scene to reveal that the whole setup isn't really as private as the title suggests. In fact, the walls that envelop the chair are abruptly, violently cut off parallel to the viewing plane. The scenario becomes some sort of a sinister exercise   arbitrarily confining the inhabitant of the photograph to an absurd dream space.