I remember when I first started putting things on the web and people were writing about it. I totally didn't keep up with what was going on because I wanted to present stuff in museums and galleries and have some presence on the web. I feel fortunate to have posted stuff in the beginning.

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

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.

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

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.

I was trying to release emotions, exercise emotions, and then I entered the art world. Even after grad school, some of [the earlier works] were still lingering in my head. I realized there were some pieces where I felt that I had to respond to the criticism.