When you're not a mom, you can get up in the middle of the night, paint, sleep all morning... you can't do that when you have two children!

People look at film in a gallery, and if they walk out after two minutes they know they haven't seen the whole work. But then people look at a painting for two minutes and think they've seen it. Certain paintings are made to be consumed fast. But some require a slowed-down time. You have to go back to them.

Race always comes up in the conversation of Detroit.

The erasure itself became the action. It seemed to suggest a moment in terms of how sad or pessimistic you can feel in a political environment or a historical situation. But it felt like a really hopeful gesture in the painting.

That's what I'm interested in: the space in between, the moment of imagining what is possible and yet not knowing what that is.

The investigation of making is illuminating towards that moment rather than the other way around, a reversal of the way that I would approach making a painting before. I think that it gets to a richer illumination of the moment, which is what I was trying to do at the beginning but going about it a little backwards.

I don't ever work in a way where something is an illustration of an event, but when something is occurring at the same time I see it as very informed by that.