I want people to be drawn into the space of the work. And a lot of people are like me in that they have relatively short attention spans. So I shoot for the window of opportunity.
Although my art work was heavily informed by my design work on a formal and visual level, as regards meaning and content the two practices parted ways.
I'm an artist who works with pictures and words. Sometimes that stuff ends up in different kinds of sites and contexts which determine what it means and looks like.
Things change and work changes. Right now I like the idea of enveloping a space and getting messages across that connect to the world in ways that seem familiar but are different.
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.
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.