When I stepped back from the gallery I was in a phase where I thought I wasn't going to be making work for a gallery context for a while. People were like, "You should never leave a gallery if you didn't have somewhere else to go," but I wasn't trying to disrespect the gallerists in that way.

What really made me a performance artist was that I was able to step back and assess. I've always had [that ability], but it was coming to an understanding.

When you get a critique, people think you're criticizing them but it's really an intellectual conversation. You can't get emotionally attached.

You can talk yourself out of doing something if you start to think about, "How would this person see it, or that person see it?" So sometimes it's allowing myself to be in it and not talking myself out of it.

It's interesting how as an artist you keep evolving, but if you can get into the contemporary art space, if the works are in institutions and museums, they keep living on and on and on, even if you move to a different space, that work is still operating.

I almost feel like if I didn't have the gallery and museum content it would be easy to get lost. People's attention spans are so short; they see something and it trends for a few days and then it goes away and something else comes.

I'm actually looking for a gallery, but the thing is some galleries just want to show the video work and some are just interested in the 2-D work. It has to be a gallery where I can do the 2-D collages, the video, and live performance, where it's not this weird conflict, where it can all move forward.