Like in the paintings, there has to be moments that are completely right to be able to feel how wrong it is when the space gets flattened or the space collapses. It's the same with the technique in the sculptures: for some to feel really wrong, you have to have parts be really right.

When people say ceramics is therapeutic and seductive, I think it's really about the wheel. Nothing I've done has that feeling; I feel like I'm fighting with the material the whole time. It doesn't want to be vague. It doesn't want to be asymmetrical. It doesn't want to have different clays combined. It doesn't want to do any of the things I make it do.

In the paintings I was always interested in taking elements of space and the reality that we know and dissolving it into patterns.

It's rough to be mugged all the time, to have your place broken into all the time. You can buy a building for very little, but then the building has a fire and you have no money, so you have to fix it all yourself.

I always wanted to be an artist, I just didn't know that you could be, or how you could be. I went to an art high school but they never even took me to a gallery.

I was always interested in finding ways of meeting the familiar very differently, specifically the feminine familiar.

I think it's so important to remember the complexity of things.