One of my most strong memories was studying with Mel Bochner, one of the, I think, high water marks of American conceptual art.

There was no image of the other biological half of myself. And as an artists, as a - as an - as a portraitist, the look of who you are was radically important to me.

[My parents] met in university back in the '70s. And I didn't grow up with my father. He - they separated before I was born.

I think what's really interesting and useful about this question is that ultimately all art is a type of self-portraiture. And so in the act of identifying yourself, you're using others to get to that point. And so you're parsing out different aspects of different people in the world. You're choosing not only from America but increasingly globally different aspects of what's out there.

I grew up in South Central Los Angeles, where people are in cars.

There's something really cool about being able to fly to South Africa and watch one of the most talented African footballers wearing a shoe on the field.

There's always a tug of war. Like, in the States, in America, there's certainly a higher quotient, I would imagine, of, like, macho, like, masculinity posturing.