One of my earliest memories involves sitting on my dad’s lap in his studio in the garage of our house and watching him draw. I remember thinking: ‘I want to do that, too,’ and I pretty much decided then and there at age 2½ or 3 that I was an artist just like Dad.

A lot of my work has been about the unexpected—that kind of wanting to be the heroine and yet wanting to kill the heroine at the same time. That kind of dilemma—that push and pull—is the underlying turbulence that I bring to each of the pieces that I make.

I think really the whole problem with racism and its continuing legacy in this country is that we simply love it. Who would we be without the 'struggle?'

Im not really about blackness, per se, but about blackness and whiteness, and what they mean and how they interact with one another and what power is all about.

The silhouette says a lot with very little information, but that's also what the stereotype does.

I don't think that my work is actually effectively dealing with history. I think of my work as subsumed by history or consumed by history.

One of my earliest memories involves sitting on my dad’s lap in his studio in the garage of our house and watching him draw. I remember thinking: ‘I want to do that, too,’ and I pretty much decided then and there at age 2½ or 3 that I was an artist just like Dad.