Pop culture is central to your work, where did your obsession with its effect on us begin? And how much do you engage with it now?
As a kid, I was fascinated with pop culture, which was fed to me via American satellite TV. It’s a little absurd because it really didn’t represent the region I lived in, but I related to it more: The American dream, the Hollywood smile, that nothing is impossible. I was constantly craving more. My outlook on pop culture is different today; it’s a lot more voyeuristic. I use it to poke fun at society and its ridiculous obsessions, which are also in a way, mine.
The shows you watched growing up were from the 90s, an era that is endlessly referenced. Why do you think it’s so referential, especially to a millennial audience?
The 90s in particular was a very colourful era, and we all look back at it with a little nostalgia. To me, it had a certain naivety to it. But this nostalgia is slowly shifting away from the 90s to the 2000s. And a decade later, it will shift to the 2010s… and so on.
You made the decision to remain anonymous when you began creating work. Do you worry about your security and privacy?
I’m more comfortable in publishing my work through a pseudonym because I’m partially based in the Middle East. A lot of restrictions apply when you’re producing work in that region. But those restrictions won’t apply as long as I’m anonymous. Saint Hoax became a safe platform that no one can control or censor.