When I go into the editing process, I re-look at the original intuitive thoughts and then it becomes the written performance or text work. Because they look quite big there's this assumption that there isn't much editing, but that's a huge part of it.

I'm one who needs to be in the space [for] a sense of place and order. It's crucial.

When I go into the editing process, I re-look at the original intuitive thoughts and then it becomes the written performance or text work. Because they look quite big there's this assumption that there isn't much editing, but that's a huge part of it.

I'm not really interested in making someone endure a performance or stand there for too long. I like to think about the length.

The way I perform or the setup is always same - just me and a microphone and the text - and they usually have some relation of how physical that stack becomes. When I'm editing it together, the density of the papers is an indicator to be like, "You need to stop."

I'm interested in really particular details, ideas, thoughts, and emotions, yet it's defused with performance, where you can play with hiding things, or be more confrontational about something shielded. There is this process of layering in performance.

Being on the same level as everybody is really important to me. I'm trying to do really basic stuff like communicate, convey, talk, see, and invite joining and intimacy. What I'm trying to do is attach. It's not about being separate.