I was horrified when I realized people weren't seeing what I saw in the pictures, but it was naive of me to think they would. It was a slap in the face, but I was young, I was probably only about 29, and it didn't last long. The drive to make the work was stronger than the fear of being criticized. I wanted people to talk about the photographs themselves, the composition, the structure, the scale, the color. That’s what I’m interested in—relationships, people, the way they move and the way they walk, the way a room is set up. The sociological. It’s like I have blinders on—I see the formal parts of putting a picture together, paired with the human figure, and human emotions.