I probably protect myself by not asking myself too much.

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'm one who needs to be in the space [for] a sense of place and order. It's crucial.

I've got a twin sister who's an artist and growing up I was always the loud one. She's not actually quiet at all, but I would rather fill a gap with chatter and she would just let a gap be. So there was no inclination to actually perform.

Being on the same level as everybody is really important to me. I'm trying to do really basic stuff like communicate, convey, talk, see, and invite joining and intimacy. What I'm trying to do is attach. It's not about being separate.

I started using Notes [on my iPhone] but I do a lot of hand written notes. It's a very slow, accumulative thing.

The way I perform or the setup is always same - just me and a microphone and the text - and they usually have some relation of how physical that stack becomes. When I'm editing it together, the density of the papers is an indicator to be like, You need to stop.