I cast people from right around me. I was at my alma mater. It's special to have most of the graduate students in it [and] one professor, because I feel like in terms of this school, I was one of the few students lucky enough to break into the art industry or the contemporary art world.

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.

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.

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.

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.

As artists, sometimes our work is chaotic; we don't easily communicate our needs to other people in a way that they understand.

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