The Neighbors project began when I inherited a long-focus lens and started photographing the occupants of the glass-walled apartment building across the street from my Manhattan studio. I was transfixed by the divergent narratives, obstructed by reflections and the patina of dust on glass, that were created in the segmented windows. 

I was stringent about not revealing the identities of the subjects because I was not photographing these people as specific, identifiable personages, but more as representations of human kind, of us. I only reveal the turn of the head, the back against a window, the legs under a table. These tiny scenarios and actions reveal a humanness that is unconsciously truthful and tender.