I sometimes say the conflict in the work is the conflict of my own thoughts and anxieties. It's a civil war in my head. The top part [of my artwork] is you letting go and floating. You become part of the air and you've tapped into the heartbeat of the universe. I guess that's what people do when they meditate.

People quickly look through things and don't sit and experience. That's a problem with artwork, [because] it's more of an experience than something to quickly look at. It takes a while for everything to unveil itself.

Say someone tells me their name - that name can turn into a taste or a color and that's how I categorize it in my mind. It's an easy way of categorizing things.

I like to zoom out of the situation so I can see it all and don't get caught up in the little things down there.

As I work day after day, inspirations from different places go into the work. It's combination, but it's also comparative. I'll be reading two books at the same time that are totally different [and] then have two stories mix together.

"Motherboard," for me, has four different levels: the bottom part is the water, vegetation, and growth. The second part is the world with figures and animals; there's chaos and civilization. The third part is the digital zone - these red things are turning into really loud digital sounds. Then the fourth level is like ether and things turning into air. This idea of how we're becoming partly digitalized is really interesting to me.

My work makes people understand things in a visual way that I could never understand in a literal way - like the way you deal with and break down problems, and don't come up with answers, but [find] a pathway that becomes clearer.