I think that the development of any culture has something to do with the way people deal with the concept of illusion. The fact that the sound of my voice and the way I modulate it creates pictures in your head... in order for us to accumulate knowledge, we have to create symbolic exchanges that let ourselves be fooled temporarily by something that's not there - by a substitute for reality. When you talk about representation, you're talking about language.

Every time you show something to somebody they're going in one direction, when they see that thing you did they're going to go off track - maybe towards a direction that you think is more important. They'll be more discerning, they'll probably see things a little bit more profoundly, they'll spend more time trying to understand what's in front of them.

When you organize your work and look back at your entire production, it may feel like you're looking at a straight line, but in fact it's nothing like that. The work is very experimental and most of the time it develops like branches. I usually see a capillary, like a tree shape where there are... branches that sort of move because you're not tending to them.

We need saints; we need this head - this talking head - to communicate. Every single religion you have people that go in-between, that can talk to god or communicate ideas. Then there are the talking heads in the news every time we watch TV. No matter how complex, you still need a person there to tell you what happened: a storyteller of sorts. I find that fascinating that we feel so attached to this primitive mode of connection, this primitive interface to the world.

When someone tells you it’s a grain of sand, there’s a moment where your reality falls apart and you have to reconstruct it. You have to step back and ask what the image is and what it means.

I'm a student of media and I've always been one. I'm fascinated by the way we make the world around us based on pictures and how can we improve our perception of this picture world.

Art objects are inanimate sad bits of matter hanging in the dark when no one is looking. The artist only does half the work; the viewer has to come up with the rest, and it is by empowering the viewer that the miracle of art gains its force.