'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.

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

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.

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

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

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.

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.