One of my first introductions to art photography (not just computer wallpaper landscape schlock) was DiCorcia’s Hustlers. I fell in love with his use of gas stations, fast food restaurants, motels, and supermarkets as backgrounds. I don’t have the same human connection he does, I suppose, and I gravitate towards more Hopper-esque scenes without a soul around. Hopper, though, seems to have a bit more hope in his paintings -– I was recently reading Art Can Help, the recent Robert Adams collection of essays, and his analysis of Sunday Morning has stuck with me. It’s an empty scene, but there’s almost a sense of anticipation – the sun rises further, the shops open, the people emerge from their homes, and life begins again. I want my images to be the opposite, an end: the day is over, the night has come, everyone has left, there’s nothing left to look forward to.