You know, the process, I think, is the story. And it goes back, again, to what I said about chance and about radical contingency, the idea that all of this is this well-oiled machine that's been reared up and, like, really articulated and thought about.

I noticed that the work of my non - I noticed that the work of my friends who were white and male, specifically, existed in a type of freedom that was not bound by certain political questions and assumptions and locations.

I think that at its best you just have to respect each arena for what they can do well.

If I have the same plan to go into the streets, find random strangers, use art-historical referent from their - from the specific location, to use decorative patterns from this location, that's a rule. That's a set of patterns that you can apply to all societies. But what gives rise or what comes out of each experiment is so radically different.

After high school I went to the San Francisco Art Institute, and I began a formalized art education where we went through the history of art but we also went through the art of my contemporaries.

Just physically, if you looked at the house that I grew up in, my mother created this greenhouse. And surrounded the entire property. And there was, like, trees and sculptures and like - it was, like, this crazy, like, secret garden space.

I think that's kind of indicative of a type of self-confidence that people develop when they recognize their own ability to create.