I think this is pretty clear, but maybe not to everybody: Despite the fact that the work is personal or taken from life, it's not about me telling my personal story.

Because I'm always working on something, I'm always thinking.

'm very conscious about how the viewing situation [of the Biennale] creates a situation for the viewer who feels pressured. I don't really have any concept of who looks at my work online. I don't think it's viewed that much online.

I'm making art and making decisions and editing things. I don't live my life to broadcast it into the art world; I don't see it as my life on the stage.

My Instagram has personal things, like pictures of my home, but generally it's my voice, and that's a public thing. Using my Instagram posts in my art is not about taking my personal Instagram and making it public; it's about understanding and challenging the notion of these free platforms that encourage self-promotion and understanding what they are technically and culturally.

That's just the way I end up making meaning from the direct material in my life - I think what makes it accessible is the desire to communicate, more than anything. It does make it accessible, but that's not what motivates me.

Putting Instagram into a different context is about rescuing it from the tyranny of now, taking it back from the muddy river that everyone is pouring things into. As a poet, as a thinker, as an artist, I believe there's another way to experience the world, and another way to experience time.It can't all just be public relations and branding; it's about making meaning with signs around you.