All the gossip and craziness becomes a kind of sustained narrative which, in turn, can become history. It's scary.

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.

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

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

Although my art work was heavily informed by my design work on a formal and visual level, as regards meaning and content the two practices parted ways.

I'm trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.

I want people to be drawn into the space of the work. And a lot of people are like me in that they have relatively short attention spans. So I shoot for the window of opportunity.