I couldn't even have a guitar. But I got a three-track recorder that was so small that I could take it with me. Then I started recording and writing properly. I recorded lots of voices, not just my own. I was interested in people speaking and singing English and trying out words.

Norway's a very gender-aware country, and we're very liberal. There are lots of women's voices being heard here compared to many other countries.

I've never been good at being nostalgic, and I've never been able to focus on sound without having a voice that's very here-and-now.

I remember being very, very aware of gender when I was really young. Not necessarily in a bad way. Maybe it's a little bit because I'm Norwegian and how I've been brought up.

I'm inspired by that rawness in very direct communication. My work is not meant to keep people happy or give them an escape.

I've always been a fan of reading art catalogues from exhibitions, and plays, and I've worked with a surrealist German playwright, Heiner Müller.

I'm very interested in the visual world because I'm also very interested in feminism. I find that the world of watching takes us into the most psychotic state of, like, "You are this one person, but you have to become another person to see these images."