I think what I'm trying to do is create moments of recognition. To try to detonate some kind of feeling or understanding of lived experience.
I'm trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.
There's a moment of recognition. It's that white-light kind of stuff that just works. I love that. And you know it when it happens, whether it's a movie, music, a building, a book.
There are so many moments and works that influence us in what we do. Movies, music, TV and, most importantly, the profound everydayness of our lives.
Do you know why language manifests itself the way it does in my work? It's because I understand short attention spans.
I think I developed language skills to deal with threat. It's the girl thing to do-you know, instead of pulling out a gun.
Direct address has been a consistent tactic in my work, regardless of the medium that I'm working in.
I had to figure out how to bring the world into my work.
I think there are lots of ways to make good work. You can throw big bucks at a project and make what some would call crap, or you can work very modestly with eloquently moving results.
It's good to keep in mind that prominence is always a mix of hard work, eloquence in your practice, good timing and fortuitous social relations. Everything can't be personalized.
Look, we're all saddled with things that make us better or worse. This world is a crazy place, and I've chosen to make my work about that insanity.
What makes the production of my work so expensive? The whole installation thing - the construction, the objects, the technology. It really adds up.
I just say I'm an artist who works with pictures and words.
If most American cities are about the consumption of culture, Los Angeles and New York are about the production of culture - not only national culture but global culture.
Listen: our culture is saturated with irony whether we know it or not.