"The relationship between text and image is something that has been a part of my work from the beginning. Not so much, how a text describes an image, or an image illustrates a text, rather the space between these two things. I am also interested in architecture. The creation of some kind of public space in which people could congregate or gather. The information I am working with can then be reconstructed around the architectural configurations of those spaces."
"What I am looking for is a layering of information that is different from any particular construct. I am looking for the shape and meaning of my own experience in this time. Each artwork is an outgrowth of that experience, both mine and others and how they might link and reveal something one to the other. . . Any discussion of the work after the fact, becomes a piece of history, a consciously created artifact . . . when I talk about the work, I try to let the stories that lie within the work reveal themselves."
"The issue here is how, through our practice, to interrupt the tendency of repetition of the past's mistakes and injustices and to simultaneously propose some sort of vision for the future. . . In relation to monuments, the issue is how to present the history of the victims versus the history of the victors. The history of the victors is transmitted through the generations, through the selection of events -- preserving some, rejecting others, or determining their interpretation. The image of the past is composed in this way . . . by silences and omissions."
"The fear of endless reproduction. The loss of identity and personality rooted in the body which is fixed in time and space. How do we differentiate and classify the many layers of the simulated and the real? The differences between virtuality and reality and their coexistence. Can the WEB, thought by many to be the epitome of the hyperreal, be demonstrating the opposite -- the linear notion of the past, present and future. . . . concretized memories of the real that are no longer valid? Most discussions around virtual reality continue to reproduce dichotomies between the mind and the body, with the virtual occupying the lesser status to the real."
"The spectrum of public reactions can run the gamut from complete indifference to the point of engagement, when a viewer is caught in a moment of time, in which they pause, reflect and make connections between their life, the work and the things that surround that particular intervention. . . Some works arrest people in their tracks, creating a moment that is in the present but acts to peel back the skin of the city's past while simultaneously opening up a window to the future."