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 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.

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.

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.

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.

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