I understand - and often make fun of - the desire to run to the wall text before running to the painting.

I understand - and often make fun of - the desire to run to the wall text before running to the painting.

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.

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.

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.

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.

'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.