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

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.

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.

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 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.

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.