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.

It's always an interesting thing that happens between an artist and their work. People collapse the two, and for any artist, there will be a long period of being considered one thing before being considered another - whether despicable, rhetorical, or poetic. But we all know that these things are made with a huge amount of will and intention. Yet ultimately they're out of our control.

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.

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.

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.

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.

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.