|WJS: You combine straightforward imagery with the surreal. What is your relationship to documentary photography, and what is your relationship to the history of Surrealism, if we consider them to be separate strands of the history of photography?
TR: Generally my position is one of synthesis. I’m open to what photography can do well, and to what I can do with photography. I like to keep the door open to documentary qualities, but I’m equally interested in the mythical, the religious, the surreal. A problem I have with historical Surrealism is how implausible the scenarios seem, while in an actual dream everything seems completely possible. The main problem with documentary photography is how it tends to simplify our relation to reality. It also pretends to not speak a language.
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