I take my work seriously. I don’t take myself seriously. Sometimes you have to look back and say, “Fuck, how was I able to make that shit?” And laugh about it and then move on. And then destroy the work. I’ve destroyed a lot of work; I’m not afraid of mistakes. I’m afraid of keeping them. /.../ Just because he’s dead doesn’t mean I stopped loving him. /.../ How can you be feeling if you’re not in love? You need that space, you need that lifting up, you need that traveling in your mind that love brings, transgressing the limits of your body and your imagination. Total transgression. /.../ What I’m trying to say is that we cannot give the powers that be what they want, what they are expecting from us. Some homophobic senator is going to have a very hard time trying to explain to his constituency that my work is homoerotic or pornographic, but if I were to do a performance with HIV blood – that’s what he wants, that’s what the rags expect because they can sensationalize that, and that’s what’s disappointing. Some of the work I make is more effective because it’s more dangerous. We both make work that looks like something else but it’s not that. We’re infiltrating that look. And that’s the problem I have with the sensational, literal pieces. I’m Brechtian about the way I deal with the work. I want some distance. We need our own space to think and digest what we see. And we also have to trust the viewer and trust the power of the object. And the power is in simple things. I like the kind of clarity that brings to thought. It keeps thought from being opaque. /.../ I want to live until I do all the things that I want to do. /.../ It’s not about time. It’s about how life is lived. I have had a very good life. I have lived this life well. Very well. And I’m an atheist. I’m one-hundred percent atheist. How many years, I don’t know. I want to experience a few other things … I want to go back to Paris and I want to go back to London. /.../ 

I take my work seriously. I don’t take myself seriously. Sometimes you have to look back and say, “Fuck, how was I able to make that shit?” And laugh about it and then move on. And then destroy the work. I’ve destroyed a lot of work; I’m not afraid of mistakes. I’m afraid of keeping them. /.../ Just because he’s dead doesn’t mean I stopped loving him. /.../ How can you be feeling if you’re not in love? You need that space, you need that lifting up, you need that traveling in your mind that love brings, transgressing the limits of your body and your imagination. Total transgression. /.../ What I’m trying to say is that we cannot give the powers that be what they want, what they are expecting from us. Some homophobic senator is going to have a very hard time trying to explain to his constituency that my work is homoerotic or pornographic, but if I were to do a performance with HIV blood – that’s what he wants, that’s what the rags expect because they can sensationalize that, and that’s what’s disappointing. Some of the work I make is more effective because it’s more dangerous. We both make work that looks like something else but it’s not that. We’re infiltrating that look. And that’s the problem I have with the sensational, literal pieces. I’m Brechtian about the way I deal with the work. I want some distance. We need our own space to think and digest what we see. And we also have to trust the viewer and trust the power of the object. And the power is in simple things. I like the kind of clarity that brings to thought. It keeps thought from being opaque. /.../ I want to live until I do all the things that I want to do. /.../ It’s not about time. It’s about how life is lived. I have had a very good life. I have lived this life well. Very well. And I’m an atheist. I’m one-hundred percent atheist. How many years, I don’t know. I want to experience a few other things … I want to go back to Paris and I want to go back to London. /.../