My photographs exist to me as clues to a story, perhaps a crime, that I will never figure out. I am interested in scenes that confound me, scenes where it seems like something is absent. Often my images show signs of a human presence, but there is no person in the frame. The lack of a specific person, familiar or unfamiliar, as a reference point paradoxically allows me and other viewers to feel more connected to the image. Like it was a memory of my own, of the viewer's own, but of what exactly? of when? I want to trigger the sensations that these (false) memories produce: danger, isolation, elation, despair. Each emotion feels like a discovery when filtered through the neutral image. Often I combine images in twos and threes or in a larger series within an installation. This can produce a greater specificity of mood and amplify the sense of deja-vu. The context seems tantalizingly familiar and yet the viewer's place is frustratingly uncertain. In combining the images I am looking to isolate what attracted me to take the photograph in the first place. If I am lucky, this will lead the viewer to buried moments from her own life. Susannah Sayler