— I imagine it was a huge decision to leave your homeland of England for the States in the 1990s. I understand that you have traveled to different places across the U.S. for your work.

When you move countries mid life, it is actually very liberating. In those days, I was living with the least amount of belongings.— I could get everything I owned in NYC into 2 suitcases, which made me feel very agile and free. I could move apartment on the subway! That moment of freedom is hard to recognize, usually you miss it, and only see it when you look back, but I got a 2nd chance, and took it: traveling to Detroit, New Orleans, Memphis, Arizona, California, Texas, the mid-west; many cities on the west coast, as well as New York, Boston, and the east coast, and so on. Instead of working from a car, I used my feet in suburban areas and other many typical everyday places. I was trying to capture life in passing as a flow of time, rather than taking pictures that freeze life in a small rectangle. What's a good way to put it?... I saw the flow life as endless moments moving together... Someone called them as being like a visual haiku. I ultimately put these photos together in a collection called A Shimmer of Possibility (2007).

— In the period when photography was evolving from film to digital, you published a collection called Films (2011).

Ok, yes, Films was a somewhat unusual book. Although the images look like abstract, in fact they are not. It is quite simple: I gathered together negatives I had taken for various series over 30 years and scanned them at ultra-high resolution to convert them to digital. When you magnify film this much, you clearly identify the rudimentary chemical grain structure that constitutes a photograph. The magnified images are incredibly beautiful. The base film material is coated with a photosensitive emulsion sensitive to reds, blues, and greens, which form the colors of your images. Film is a highly complex and wondrous scientific development, but at the same time it is a very old analog medium. In effect, this collection declares “Farewell Film” in imitation of Farewell Photography, paying homage to the medium of film.

— The work also contains a feeling of “I love you”.

That's right. It's a break-up cliché: “I love you, but farewell.”

— That sounds wonderful.

Another series of images I've been working on recently is The Seasons, a body of work that looks at the main US bank headquarters in Park Avenue, New York. I photographed the major banks, like JPMorgan Chase, Citibank or Bank of America - their names clearly appear on the buildings in the images - at lunchtime, when the area is packed with employees coming outside. The work references the Flemish paintings of the 16th century by Brueghel - his depictions of snowy landscapes or summer harvests where people - farmers, workers, land owners - are scattered across the landscape. He famously made 6 paintings known as 'The Seasons' of life there (they believed there were 6 seasons then, not 4) So I have re-interpreted that - an image for each of the seasons, Spring, Summer, Winter, etc, but... flipping it from peasant farm life in 16c North Europe, for 21st century financial life in NYC. This will open in Pace Gallery in New York in March.