I worked with someone else's photos; I cropped them in whatever way I wanted and put words on top of them. I knew how to do it with my eyes closed. Why couldn't that be my art?

It's good to keep in mind that prominence is always a mix of hard work, eloquence in your practice, good timing and fortuitous social relations. Everything can't be personalized.

There's a moment of recognition. It's that white-light kind of stuff that just "works." I love that. And you know it when it happens, whether it's a movie, music, a building, a book.

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.

It's really hard for me to use the term 'history' in the singular, because it suggests a reductivist view of how moments and events congeal and reflect the passage of time. I'd rather stick to the pluralness of 'histories' in order to suggest the simultaneity, the parallel forces at work, which produce lived experience.

I've always thought that it's good to watch the news to find out what everybody else is looking at and believing, if only because that's how consensus is constructed.

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