The compartmentalizing is so severe, that we kind of lose track. When you sit down to dinner with friends, you're going to talk about everything, sharing this polyphony of experiences, this spectrum of culture, and it's all cross-pollinating all the time.

I'm not a journalist; I'm probably a horrible interviewer. The one small thing I have is I'm curious, and I'm interested in who I'm with.

What The Source becomes, in a physical sense, is almost like this particle accelerator. There's all these different, discrete voices and ideas. If you just saw two of them together perhaps it might seem completely diverse and like, "Why do you have these two people together?" But as it grows and as it speeds up, it kind of creates a larger dialogue.

The compartmentalizing is so severe, that we kind of lose track. When you sit down to dinner with friends, you're going to talk about everything, sharing this polyphony of experiences, this spectrum of culture, and it's all cross-pollinating all the time.

Divisions between culture is not this precious thing, it's just this dirty beehive with things moving around, creating accidents, and violence, and harmony. It's this kind of beautiful mess, this matter.

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

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.