Things change and work changes. Right now I like the idea of enveloping a space and getting messages across that connect to the world in ways that seem familiar but are different.

I see my work as a series of attempts to ruin certain representations and to welcome a female spectator into the audience of men. If this work is considered incorrect, all the better, for my attempts aim to undermine that singular pontificating male voice-over which correctly instructs our pleasures and histories or lack of them.

I had to figure out how to bring the world into my work.

What makes the production of my work so expensive? The whole installation thing - the construction, the objects, the technology. It really adds up.

What I'm trying to do is create moments of recognition.

I remember going into galleries and seeing this thing called conceptual art, and I understand people’s marginalization from what the art subculture is because if you haven’t crashed the codes, and if you don’t know what it is, you feel it’s a conspiracy against your unintelligence. You feel it’s fraud.

I try to deal with the complexities of power and social life, but as far as the visual presentation goes I purposely avoid a high degree of difficulty.