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

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.

I think I developed language skills to deal with threat. It's the girl thing to do-you know, instead of pulling out a gun.

I think that art is still a site for resistance and for the telling of various stories, for validating certain subjectivities we normally overlook. I'm trying to be affective, to suggest changes, and to resist what I feel are the tyrannies of social life on a certain level.

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

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 don't necessarily think that installation is the only way to go. It's just a label for certain kinds of arrangements.