Like, the smells and the sights and the sounds. As an artist, you want to sort of be able to engage that and get that down in some way. This is - this is a type of familiarity but a type of radical difference at the same time.

My mother's from Texas. Small town outside of Waco called Downsville. And my father's from Nigeria. And so I guess I'm properly African-American.

Your best as an artist is to create something that resonates for you.

What's interesting about my project recently is that I'm going out into broader global spaces but then isolating at the same time - sort of pushing out but then pulling in.

If I were making paintings of a bowl of fruit it would still be viewed through some sort of political lens, because the viewer wants to create a type of narrative around the political theme when they look at work depicting black and brown models.

I think that an obsession with art history gave rise to the work.

I happen to be a twin. I grew up half of my life with someone who looks and sounds like me. And I believe it's possible to hold twin desires in your head, such as the desire to create painting and destroy painting at once. The desire to look at a black American culture as underserved, in need of representation, a desire to mine that said culture and to lay its parts bare and look at it almost clinically.