For Retail, I photographed houses at night, each with a reflection in its window from the multinational corporation across the street. The reflections were horrific reminders of the reach of global capital even into our private lives, and at the same time were undoubtedly the most beautiful things I've ever rendered; like stained-glass windows in single-storey American suburbs, or the illuminated capitals of medieval manuscripts. All art can be understood to both celebrate and criticize the culture it comes from. I want my work to run crashing through both these functions, accruing energy from both. The camera loves everything in front of it equally. It is overgenerous with its attention, and so has an enormous negative capability: it can uncover while leaving all surfaces intact. The camera loves the world so much, the photographer must act as critic.