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.

I work with pictures and words because they have the ability to determine who we are, what we want to be and what we become.

I'm trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.

Do you know why language manifests itself the way it does in my work? It's because I understand short attention spans.

I mean, making art is about objectifying your experience of the world, transforming the flow of moments into something visual, or textual, or musical, whatever. Art creates a kind of commentary.

GIVE YOUR BRAIN AS MUCH ATTENTION AS YOU DO YOUR HAIR AND YOU'LL BE A THOUSAND TIMES BETTER OFF.

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.

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.

Seeing is no longer believing. The very notion of truth has been put into crisis. In a world bloated with images, we are finally learning that photographs do indeed lie.

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 try to deal with the complexities of power and social life, but as far as the visual presentation goes I purposely avoid a high degree of difficulty.

Never ask about the details of someone's personal life, only the quality. Because if they want you to know, they'll let you know. If they don't want you to know, there is no need to know.

When all that’s left of us is the pure untainted consciousness without form, we’ll know what it means when the last human breath expires.

One does not have the right to criticize until he can do the same work without being criticized

The Potemkin city of which I wish to speak here is none other than our dear Vienna herself.

If I went to work in a factory the first thing I'd do is join a union.

When you're talking about pure form, theater is a wonderful outlet.

My first memories are from when I was very little, maybe three or four years old playing in my neighbourhood at home. I can picture myself with the ball at my feet from a very young age.

I'm sorry you're angry is not an apology.

People ask 'How do you get so eh-ish?' I don't know if it's just because so much of my family still lives in Canada and I finished studies up there.

That’s it,” she said, balling her hands in fists. “I’m not letting you out of it this time. I insist that you take me to Scotland. I demand you ruin me. As a point of honor.