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.
I've never worked in advertising - my experience was as an editorial designer for magazines - but you could say, in the bigger picture, that magazines are vehicles for colour advertising.
I think that every so-called history book and film biography should be prefaced by the statement that what follows is the author's rendition of events and circumstances.
I feel uncomfortable with the term public art, because I'm not sure what it means. If it means what I think it does, then I don't do it. I'm not crazy about categories.
I've always thought that it's good to watch the news to find out what everybody else is looking at and believing, if only because that's how consensus is constructed.
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.
Power doesn't just exist. It is threaded through different mechanisms of control. I'm interested in those complexities. But I want to address that in very forthright language and sometimes with images.
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.
I think that designers have an incredibly broad creative repertoire. They solve. They create images of perfection for any number of clients. I could never do that. I'm my client. That's the difference between an artist and a designer; it's a client relationship.
I think people have to set up little battles. They have to demonize people whom they disagree with or feel threatened by. But it's the ideological framing of the debate that scares me.
I like suggesting that 'we are slaves to the objects around us,' that 'plenty should be enough,' or that the 'buyer should beware,' within the context of conventional selling space.
I have problems with a lot of photography, particularly street photography and photojournalism - objectifying the other, finding the contempt and exoticism that you might feel within yourself or toward yourself and projecting it out to others. There can be an abusive power to photography, too.
I believe that who we are, and consequently the work that we make, whether we're visual artists or writers or journalists or filmmakers, is a projection of where we were born, what's been withheld or lavished upon us, our color, our sex, our class. And everything we do in life to some degree is a reflection of that context.
I always say that I'm an artist who works with pictures and words, so I think that the different aspects of my activity, whether it's writing criticism, or doing visual work that incorporates writing, or teaching, or curating, is all of a single cloth, and I don't make any separation in terms of those practices.
Even when I was a little girl, I remember going to the Museum of Modern Art. I think my parents took me there once or twice. And what I really remember is the design collection.
