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It's hard for me to understand how working-class people support themselves.
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I didn't finish college; my parents didn't graduate college - we didn't have a pot to piss in. I'm from Newark, New Jersey. I had to work. I didn't think it would be possible for me to be an artist without having a job.
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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.
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Direct address has been a consistent tactic in my work, regardless of the medium that I'm working in.
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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.
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Women's art, political art - those categorisations perpetuate a certain kind of marginality which I'm resistant to. But I absolutely define myself as a feminist.
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I just say I'm an artist who works with pictures and words.
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Architecture is my first love, if you want to talk about what moves me - the ordering of space, the visual pleasure, architecture's power to construct our days and nights.