Wherever I go, I try to carve out time for documenting the cultural landscapes that I encounter.  Sometimes this is an effort to become familiar with unfamiliar places; other times it is an attempt to render the familiar extraordinary.  In all cases, I see documentation as an inevitably reflexive process of recording and interpreting.  There is no such thing as a pure, unalloyed documentary artifact: every photograph, every note, every sketch takes form out of the productive tension between what we see and the lenses through which we see it.  Over the years, I have tried to bring greater fidelity to my documentary practices, to render places as much on their terms as possible.  But good documentary practice requires us to acknowledge and account for our subject positions as we interpret the world around us.