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.

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.

I think I'm aware of entering my late 30s versus being in my late 20s, when the web was coming out as this new thing. It reminds me of how people used to tell me about my great-grandmother and how they used to gather around a radio listening to soap operas.

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.

If I have a piece that's solely based on the web and it's going to also exist in a gallery, it needs to exist in a gallery where it doesn't feel redundant.

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.