I've thought about bands or performers who appear from nowhere: You come out of the greenroom in this secure little unit, then you do this thing and you're shielded from everybody. I'm thinking of brilliant people, like Mariah Carey, who have no interaction. They interact with the audience at the time of the live thing but there's no build up and there's no afterward.

Sometimes I start with music on and then I get distracted because I'm working to a different rhythm; I'm not working to myself. So, I don't have music on when I'm working.

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.

For me, there's the certain focus points that come out, which could reference a song or a pop disco, or something really abstract. It's not totally fulfilling or complete, but rather an ongoing incompleteness. I'm really interested in the audience's relationship with myself, and my relationship with them.

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

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.

I don't analyze too much, because then I'll question, 'Why do I write down all of these random little phrases?'