'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.

The personal is the political. That's an old tagline.

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.

That's the fantasy dream project, to collaborate with someone who preaches the gospel of art through music.

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.

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

My work is basically images set to my particular voice. It's the way the images rhyme and the rhythm. It's a way of economical storytelling for me.