You can't create a work without being aware that it will change dependent upon the context or the society where it is developed or consumed.

You can't create a work without being aware that it will change dependent upon the context or the society where it is developed or consumed.

Of course, art in and of itself gives me some feeling of elation or power and is in some way curative. But actually what's interesting at the end of the day is the various interpretations and conversations between us. Something that exists between us is probably better than you and better than me.

The meaning of an artwork is changing depending on who's looking at it - depending on what culture, depending on what time, and so forth. It's alive.

I think the films and the paintings erase each other. The paintings are extremely slow and constantly going on in the studio - they're constantly regenerating themselves in this slow, monotonous way that's a physical struggle and can be a pain in the ass. They're all based on very specific math and diagrams. And the films, when I'm making them, are very fast, very collaborative, with a lot of improvisation.

That's what I mean by this sense of erasure. You're inside some event or spectacle and you know you're complicit in it, but there really is no external.

I think that people tend to look at the paintings as being resolved or finite. But, to me, a painting can be an index for all of the paintings I've done and all of the paintings I'm going to do. It's like if I'm doing a film of the Olympics, I'm not examining a specific sport; I'm interested in the overall context.