I just don't really see the dialectic between inside and outside, and corporate and revolutionary, as being as cut and dry as I used to.

I’m actually suspicious of people who have a lot of friends.

It’s killing the planet. It’s killing you. It’s killing all of us. Walk away.

I don't want to look sexy in photographs. I think it's an easy option. I'm so sick of girls pushing their boobs up in Myspace photographs. I hate the way women want to be "hot" all the time.

I do not consider Kinetic Light’s work radical. It is not radical to imagine a disabled audience as primary and to make the work accessible to that audience. It is not radical to situate a work within disability history, culture, and traditions. Non-disabled artists do that all the time.

I’m reading an odd collection of books that should not go together, but of course they do. Georgina Kleege: What Blindness Brings To Art; Fred Moten: Black and Blur; Theri Pickens: Black Madness :: Mad Blackness.

What I think you’re asking is, “Does it change the movements on stage if you have people come and watch it?” I would say, yes it can, but not always. Not every comment will lead me to go back to the stage and change something… but it can. Often you don’t know how stuff is landing, so it can be helpful to get a viewer’s perspective. Since I’m in the piece, I’ll never be able to see what it looks like from the outside.

Everything. Theatres are ready for disabled audiences, more or less, but they aren’t ready for disabled artists. An example I always give is: theatres don’t always have an accessible toilet backstage, so you can’t pee before the show, or if you do you’re halfway through make-up and you have to run to the front where the audience is. The main issue is physical access, but it is improving.

Obviously, it’s different for everyone. And actually there is a difference for each thing I do. But one way it happens is to just move. [ laughs ] I mean, obviously, you don’t just sort of randomly throw yourself around the room. You move with these ideas and sometimes I find that I’ve already got images in my head that I imagine my body in, or sometimes I have sequences in my head. I think a lot of time I’m listening to what comes next because sometimes the body will tell you that. Often I don’t document it too early in the process because sometimes if you forget stuff it’s worth knowing that the things that you forget maybe weren’t worth keeping. The things that have settled are the things that need to be kept because they seem most urgent. I don’t know. I mean, sometimes it’s about going to the studio and nothing happens for a long time and you just sit there and you’re not feeling it. That’s awful. It’s like when you’re writing and sometimes you go to the coffee shop and you’re like, “So, we’ll just see what happens.” And you end up on Facebook. I think the answer to this is… I really think the answer to this is I don’t know. [ laughs ]

Do it. It is the hardest thing you will ever do and it will bring you immense joy. You won’t be alone, there is an entire community here for you.