What is it about the photographic medium that attracts conservative spirits?

It seems more concerned with where we’ve been than where we might go, more concerned with recording what has happened than exploring what might occur, more concerned with what we think we know than what we know we don’t.

Perhaps it is in its very nature to be preoccupied with the concrete side of existence, only flirting with other conceptual dimensions sporadically; perhaps it is related to why it was born – a purely technical challenge relating to rendering permanent a visual perspective that was already centuries old as opposed to a search for an alternative approach to existential exploration.

Still, the remarkable persistence of its most reactionary qualities continues to fascinate me, particularly in the face of a potential that extends far beyond the narrow perspective it has traced for itself.