I really like the idea of banality and repetition being used to generate the image, which are simple and unobstructed and not captivated by composition.

I try to just put a blank stage in front of them, and say, "This is your space; you tell me where you're coming from and where you're going." At a certain point, it was interesting as the project started to become what it is now, The Source, which has a physical installation and also an online presence. As we started building the installation, I started thinking, "It's really strange that we're building this installation, this piece of architecture you can go into." It's almost strange because I suppose it's an artwork, but it's an artwork that's really constructed out of ideas.

When you make work, the concept is the basis for it; all choices of aesthetics or mediums come later.

I think the idea of embracing the process, creating something, no matter how thin it is, that you can call a starting point - whether it's a word or it's an idea, or it's a little piece of narrative that you might base a film on - starting that journey of making the work. That's also something that every individual does very differently.

I really like the idea of banality and repetition being used to generate the image, which are simple and unobstructed and not captivated by composition.

I am fascinated by the indecisive moment and the peripheral view.

You see someone like maybe William Eggleston. William doesn't even really talk about what he does; he just wants to make these images. He kind of hovers around a location and extracts these images.