I set up a system for myself where I work on a lot of pieces at once. I'll switch between them and keep working on a piece until it comes together, and then I'll publish it. This way some pieces can take a year if they need to. The trick is to just make sure one is ready every week.

Our job is to translate the lies, deceit, and anxiety that poisons our cultural water supply into an understandable form that we can digest.

We've become to living with absurdity, and that to make people to see how much so, I had to ratchet up the insanity.

If I was feeling angry, I had to investigate not just who or what I was angry at, but why. And then I had to do the hard part and ask myself: Are you justified in where your anger is being directed? So, while I allowed my emotions to be valid, I knew that if I were to use them constructively, in the service of art, then I had to look at them dispassionately. Some might call this therapy, and I suppose it was. But I also had a goal that was larger than just healing myself, which was connecting to an audience.

I like working in series, so instead of just doing one separate body of work, what if I come up with a different rhythm, instead of every week, what if I make it every year? And so I'm still setting up a series, a repetition, but it's a completely different work flow.

I set up a system for myself where I work on a lot of pieces at once. I'll switch between them and keep working on a piece until it comes together, and then I'll publish it. This way some pieces can take a year if they need to. The trick is to just make sure one is ready every week.

On to the Next Dream became about much more than me facing a challenging situation; it became about how all of us feel when we're thrust unexpectedly into change. It's about how we all hold onto personalized visions of our lives, our city, and our culture, and what we do when reality forces us to confront the impermanence of those visions.