“I began to think of the game engine as a stage where histories of theater, of performance, sculpture, all fell into the same space. And code as the driver of its logic and actions.”

“I’m inherently political just by existing, just by being honest in public... politically I live under many different categories of discourse you could dive into, but for me? I’m just writing poetry.”

“I began as someone who deeply appreciated abstract art. Loops seemed to be a way to work with abstraction and less representational forms. Both non-narrative and abstraction are on one end of the spectrum of the real. Perhaps these two forms are less concerned with endings and death.”

“It was always my intention to create a cyberpunk extravaganza. All of my work at this time was responding to the barrage of imagery, TV, film, magazines, of mainstream media filtered through the queer experience of my daily life.”

“We deconstruct and reconstruct, we do deep readings of structures, and use them to build this alternative reality – the idea of art as a site for transformation, contemplation, and the spiritual (although I hate that word) – for profound human issues of Being.”

“I want the films to be seamless. I want them to draw you in, they’re very seductive. That’s important to me, because it’s what technology does, it’s what commercials do. I’m trying to operate complicitly with the commercial aspects of this medium.”

“There’s this idea from Postmodernism that all contemporary art is necessarily routed through Modernism. Which I’ve always found incredibly assumptive. Why? With computer animation, it goes from the Baroque to now, it jumps over absolutely everything else.”