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 realized that was what was happening in my work already. I think that's where, as artists, we begin to master our craft: when we're able to step back and understand things.

You can dwell on things, and if you open your eyes and pay attention to it, those things start popping up around you.

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.

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

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.