If I want to do something in the TV industry, I should be allowed to explore that, but not in a way where it has to cancel out or ruin my visual art career.

I was trying to release emotions, exercise emotions, and then I entered the art world. Even after grad school, some of [the earlier works] were still lingering in my head. I realized there were some pieces where I felt that I had to respond to the criticism.

I've been in some biennales, and some I haven't. I always like the idea of how you meet the curator, hang out, and figure out who you want to work with.

We all, as human beings, have different layers, and if we become one-dimensional or really superficial, then I still think there are things that happened that got us to that place.

I realized [using my own voice] is what creates the performance in the performance art and that's what helps creates the distance for the viewers, like the distance that I get when I step back.

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.

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.