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

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.

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

All violence is the illustration of a pathetic stereotype.

But I really resist categories – that naming is a closing down of meaning. Women's art, political art – those categorisations perpetuate a certain kind of marginality which I'm resistant to. But I absolutely define myself as a feminist.

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.

The reason why bookstores are going out of business in the States is that people just can't focus on longer narratives now - even narrative film is in crisis in many ways, unless it's an adventure film.