Much of Angela Washko’s work begins with a simple question: What if we took the media we consume every day — the video games, the reality shows, the online chatrooms — as seriously as we take traditional art spaces? What if we examined them not just as distractions or products but as public arenas where identity, power and belonging are actively negotiated?

With a practice that spans performance, social engagement, video games and film, Angela has spent more than a decade doing just that. Her work doesn’t just critique digital culture from the outside; it embeds itself within it, creating space for dialogue in places not usually known for nuance. Whether she’s convening feminist councils in the fantasy worlds of online gaming or crafting interactive experiences from the textures of real life, her projects ask how we behave when no one — or everyone — is watching.

In 2012 she launched The Council on Gender Sensitivity and Behavioral Awareness in World of Warcraft, an in-game social practice project that sparked multi-hour dialogues between initially hostile players. Later she created The Game: The Game, an RPG in which a player could try to negotiate a bar packed full of male pickup artists following the same seduction playbook. And just last year, fascinated by the allure and promises of reality television, she directed her first documentary, “Workhorse Queen,” about a few members of the tightknit drag community in Rochester, NY and their complicated relationship with “RuPaul’s Drag Race” and the commerce of 21st century drag celebrity.

In this interview, Angela, now a full professor and the MFA Program Director at the Stamps School of Art & Design at the University of Michigan, reflects on how she found her voice as an artist inside a male-dominated gaming culture, why she continues to work in and not against the media she critiques and how becoming a mother during a global crisis reshaped her ideas of creativity, care and time.

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