For me [I was using] aesthetics to highlight places that I felt were broken down, at least economically, where segregation was still in place because of economics but also skin color. I wanted to shine a light on these places in a sense. But I was also searching out beauty. The beauty was coming in spite of this desolate landscape and terrain. Most of the images that I have are of this color and light that’s falling in some way that’s to me poetic and beautiful, and almost transcends the decay. But in a strange way too, it also emphasizes the desolation, and I can understand why people commenting on my work say that it too is bleak, ghostly, apocalyptic. I sort of knew that the eye to the camera was going to have a menacing feeling, the way these robotic cameras sucked everything up. And I knew that it would play a pronounced role in how the work would feel. I also knew that the breakdown from a pixelation standpoint would heighten the tension, the atmosphere in the subtext. I think it goes both directions in a way that maybe takes away from the real feelings. The looser, more broken down pictures made something feel more menacing than the reality would probably be. If you go the other way and look at Street View in the current, updated high-def version, you can see how in Detroit, even where homes are burnt up and broken, it looks like Disneyland. It’s so vibrant, and the sun’s always covering everything. The new Street View, they really don’t want to shoot weather that’s compromised. The new stuff diminished something. There’s not really an accurate emotional depiction, but every viewer brings their own biases and experience. There’s no way to get any form of accuracy because of this aesthetic.