Sometimes you divorce a part of yourself to save yourself emotionally.

I've learned that I need to learn how to direct without making the person distracted and keeping them comfortable, and pay more attention to lighting.

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.

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.

If I step out too much while in the process and don't allow myself to get into it, the piece may not get made.

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.

People say if you keep making work and keep putting it out, better things will come. I think artists should never forget that. I think that's what you have to be committed to if you're an artist, that's where the good feelings come from. It's so easy to get caught up in other stuff, like the business part of it. If you just have to be aware, just keep putting it out there.