When do you work best? 

I work best in the early to mid-morning, and occasionally, obsessively, in the middle of the night.

How has your practice changed over time? 

It has expanded from solo art-making to a committed public practice and collaborative production—both connected to my AR public art platform, 4th Wall, and to my cinematic work.  

What fuels you? 

I have long been animated by examinations of structural and systemic power: its abuses, the ways it is subverted, how it is enacted (particularly in an age of technofeudalism), and how it can shift over time. I am equally driven to understand cognition and sentience—how we and other species know and experience the world.

What material do you work with and why? 

I work primarily with paper and computational media. I’ve always been called to drawing and film, so whatever I make on paper inevitably ends up in my digital work (whether I’ve transformed it into 3D sculptures or left it at simple mark-making).

How do you get unstuck? 

I read, I sometimes journal (often based on what I read), and I take long walks. I also talk to trusted artist friends, who inevitably help me unlock whatever is stuck.

Where do you find inspiration? 

It may sound corny, but I find it primarily in the natural world, and in evolutionary ingenuity.

Who has influenced you and your work? 

A number of thinkers, writers, filmmakers and artists have influenced me, and because I have an insatiable appetite to learn, it would be impossible to enumerate all of them here, but a recent list would include: Rosi Braidotti (Anthropocene Feminism), Karen Bakker (The Sounds of Life), Elem Klimov (Come and See), Clarice Lispector (Agua Viva), Zoë Schlanger (The Light Eaters), Iris van Herpen, William Kentridge, and Julie Mehretu.

Who do you hope to influence? 

I hope to influence anyone who is open to having their perception challenged.

Why are you an artist? 

For one thing, because I am not smart enough to be a hacker. I am also an artist because I have never found a better vector through which to synthesize and communicate my own awe, confusion, wonder, rage, and feelings of kinship with others.

What advice would you give other artists? 

I would refer them to the Annie Dillard essay that helped me focus my creative concerns: “A Writer in the World,” in which she exhorts creatives to locate their own astonishment as their unique task, and to, (quoting Thoreau) “know your own bone,” the subjects we gnaw on again and again.

What question would you like to ask other artists? 

What is your favorite, life-giving thing in your studio?