For me her image, the triptych, became a study of the weight the black male figure carries, given the fact that they are targeted by the police, and are constantly in danger of being misread in public spaces.

I am invested in keeping present the forgotten bodies.

So you're just moving along and suddenly you get this moment that breaks your ability to continue, and yet you continue. I wanted those kinds of moments. And initially people would say, "I don't think I have any." Their initial reaction was to render invisible those moments weaved into a kind of everydayness.

I think of the described dynamics as a fluid negotiation. I don't think these specific interactions can happen to the black or brown body without the white body. And there are ways in which, if you say, "Oh, this happened to me," then the white body can say, "Well, it happened to her and it has nothing to do with me." But if it says "you," that you is an apparent part of the encounter.

I love revising things, because you see how you can get the language to get closer to intention. You know there are three ways to say X thing, but one will say it better than the other two. And in saying it better, it gets you closer to something.

I want to believe that in any relational moment a person understands that the other person in front of them is just another human being.

I don't really agree with the role model thing. People are always saying that athletes shouldn't do X or Y because they are role models.