The Access series began life as the product of failure. I approached various industrial sites, intending to photograph inside the perimeter, and was often stymied by privacy fences. I soon discovered that working from outside created visual possibilities and insights that I might otherwise have missed.
The fences act as filters, mediating the reality coming to us from the other side. They also create interesting optical phenomena, causing viewers to see different things, depending on where they stand. These two effects, filtered reality and shifting focus, became to me metaphors for our socio-political scene, which continued to evolve in parallel with the emergence of the series.