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My work is on the one hand laboured, and on the other completely happenstance and intuitive. But that's the swish in the work, I think. It's really important to me that the work isn't just sitting on top of something, that the materials are woven together - that they are recognisable and from the world.

The task of a writer consists of being able to make something out of an idea.

The more work you put in on your outline and getting the skeleton of your story right, the easier the process is later.

The work is flowing from an inner knowing of how things really are.

Usually, as designers, you try to create meaning.

I think very abstractly when I'm writing. Then, as the project moves on, it becomes more like sculpting.

In order to figure this artmaking stuff out, it's trial and error and experimentation, and takes some time and hard thinking. Putting work out in many forms and stages is an extension of how I see things. I feel the art process is best served when it invites comments and constructive criticism from people.

What my work is, is my approach to it. It's the practice. And my work is about the effort that I make to get there. And I think if there's anything artistic, it's in that middle space.

My works really begin in a very simple way. Sometimes it's an image, and sometimes it's words I might write, like a fragment of a poem.

Everything starts with writing. And then to support your vision, your ideas, your philosophy, your jokes, whatever, you've gotta perform them and/or direct them, or sometimes just produce them.