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.

If most American cities are about the consumption of culture, Los Angeles and New York are about the production of culture - not only national culture but global culture.

I think there are lots of ways to make good work. You can throw big bucks at a project and make what some would call crap, or you can work very modestly with eloquently moving results.

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 think people have to set up little battles. They have to demonize people whom they disagree with or feel threatened by. But it's the ideological framing of the debate that scares me.

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