Sometimes the art pieces I gravitate toward speak to me in terms of narrative, at other times they speak to me in terms of mood.

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.

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 always took note of them, because I think if you're in the black or brown body, you're negotiating them all the time. It's like women taking note of sexism. It's a kind of incoherency that you are constantly negotiating.

The past is a life sentence, a blunt instrument aimed at tomorrow.

People expect black women to be angry, irrationally so, without reason. They think we are animals and we go around like the Wild Things.

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.