In my process, I am constantly moving between writing, performing, and producing art objects. These various practices inform one another. What I love about both art and writing are that they can be receptacles for everything.

The writings are often written in a kind of exhaustion or delirium, I try very hard not to censor myself, to be as honest and vulnerable as possible, as one would in a diary. As a child I used to write my diaries backwards in cursive. No one else could understand them. I think it trained me to be bold and admit feelings that I might feel otherwise scared to write down.

I wish I could write solely from imagination, but then I would not have a story to write. I need to produce the story in the real world, live it out, push it forward, watch it unfold, again and again, until it ends or I end it.

I love books, letters and texts visually as objects, and textually, for their content. The same book I write serves a different purpose when included in an exhibition of mine than when read on its own, outside of it.

I want my books to exist in the literary world, not only in the art world. I am interested in having a dialogue with other writers, and the readers of those writers. Someone who is reading a book of mine might not have visited my exhibitions related to it, but can still have a full, literary experience with that book. This would be a completely different experience from stepping into the show, not having read the book. One form is not illustrative of the other.

I would categorize my books as literature, and I hope that is how they would be consumed. The books do not rely on the artwork to be understood, but I need my art practice to write them.

In my process, I am constantly moving between writing, performing, and producing art objects. These various practices inform one another. What I love about both art and writing are that they can be receptacles for everything.