Once I realized that people were starting to have an expectation about what I was doing, I just killed it. It felt tainted. It didn’t feel like I was just creating it for the sense of creating it. I also became a lot more protective of the people I was photographing, because I was not only putting my life but everyone’s life on display. And I had these very intimate moments from people’s lives, like people who had passed away, relationships that had ended.

With the closing of the Passport series do you have a sense of where your work is headed?
Suddenly I feel like I have a clean slate, like I get to reinvent my life. I think my life has not yet landed where it’s going to be, but I can feel it going in that direction. Joseph Campbell talks about how there are these periods of your life and in traditional cultures when you went from childhood to manhood there would be a transitional ceremony. You would literally change the way you dressed, the way you lived, and the way you did everything. I feel like I’m in the midst of that. I’m no longer a 20-something young kid drinking 40s behind the gas station.

In terms of my work, it’s no longer the adventure story of Mikael Kennedy. It’s more a vision of the world, or even a dream. Between Dog and Wolf it wasn’t chronological. Oftentimes the Polaroids were just dated and didn’t even say where I was because I would prefer to have someone walk in, view the work and take their own story out of it.