The act of creating a photograph is very sensitive for me. How are my images a unique contribution? I believe that, in our time, the distinctions occur in the moment of seeing things.  I need to take the photo when it comes to me. There is also the aspect of the working process itself. I was trained classically, but I love technical faults and mistakes and doing things in ways they shouldn’t be done. This has become a part of my work and a stimulant to experiment and investigate.

I came to photography from dance –spending about fifteen years studying and then working as a professional ballet dancer in Germany, England, and Switzerland. It was a very visual education that I had through dance involving all arts. Photography became a passion while I was a dancer. I began to view dance and the world at large through the lens, and it opened things up for me. I got my start as a professional photographer by taking images for dance companies while I was still a dancer. Before long it becamesuch a passion that I stopped dancing and switched to photography.

I came of age as a photographer in the late 1990s, so towards the end of the analog period, and I am grateful for the classical training I received. The digital revolution in photography has been a challenge. Although I enjoy working in both analog and digital, I'm more comfortable doing things in the old school style and having to wait for the results. I view “my” format as analog and medium-sized film, and lately I have been working to get back to that when I can. What I have found is that the act of making photographs – of looking at the world, framing it, preserving it, and sharing the work – makes me feel at home on this planet. I always find myself more interested in communicating what it feels like to be there.