My approach to photography rests on the assumption that all the settings of our lives are theatrical. This has become inescapable as our civilization has become more urban and the values and lifestyles we act our lives out in have become global, divested in large measure from the contexts of region, clan, and traditions. The irony is that, in this state of affairs, architecture has become the pervasive condition of our lives. Urban plazas, malls, offices, lobbies, parking lots, metro stations, airports, highways and countless other settings set the conditions under which our economic, personal, and political lives are carried out. I take models who have experience in acting or musical performance and instruct them, just before a shoot, to assume a mental state, a character or baseline for a character. They will incorporate this state and subtly allow their bodies, gestures, movements to evoke this state of mind. I tell them things like, ‘You have blurted a secret to a friend which you now regret,’ or ‘You have lost everything you own except the clothes on your back,’ or ‘You have just attained a major milestone placing the dream of your life within reach,’ or ‘You suddenly suspect that there’s something wrong with you, an illness perhaps just forming.’ I allow the model to assume this character and then begin shooting, capturing how this mental state might not only reflect itself in the model but in the way he or she carries the clothes and how the architectural setting conditions or resists the state of mind which has been put into play. There is a difficult balance between theater, the natural, and the everyday which must be struck in each image. The protagonist of these fleeting dramas are the clothes. They ultimately become the personality which the moment makes tangible and urgent.