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.

Race always comes up in the conversation of Detroit.

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.

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.

I'm not trying to spell out a story. I still think you feel the painting, and the reason you read the mark is because you also feel the mark.

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.