I lived in Myanmar from 2015-2017. The whole time I was playing catch-up — with language, culture, documentation, travel — and I would stay lagging behind my own expectations to the end. It took some time before I understood how little I understood. Myanmar is culturally rich and diverse and complicated. As usual my camera provided a useful go-between to help me look at and take in as much as I could: religious, spiritual, and cultural sites and objects; landscapes; peoples; and those small moments that were either mysterious or simple and beautiful expressions of the moment where time, place, culture and people meet.

I lived in Ethiopia for more than three years and my camera found much that was visually compelling there. I wasn't interested in documenting people and culture per se, but more so what I perceived as the essences of daily life as expressed in visual form.

Ten or fifteen years after shooting my first roll of film I realized that I was viewing almost everything I photographed as works of art, whether intentional or not. I saw paintings, sculpture, installations, assemblages, performance art, and sets for one act plays everywhere I went. I still do.