I love the idea of engaging religious sentiment and how that vocabulary has evolved over time.

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.

Painting is situational. And my particular situation exists within gender, race, class, sexuality, nation.

And as a young black man, a lot of my professors would really think that it was useful to see the work of politically oriented, positivistic, leftist creative works. And I found it incredibly useful. And I found it something that I've learned from and gained from.

The ability to look at certain patterns with regards to urban fashion, with regards to swagger, with regards to cultural hegemony, with regards to the ways in which young people look at resistance culture as a pattern that should be mimicked and admired.

The work that I wanted to create wasn't being done then. I was too much concerned about fellow students, professors, institutional style [in Yale].

As a twin, I operate with twin desires.