You'll find that street casting in America is a lot different than street casting in different nations.

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

I think that artists provide questions, not answers. We provide provocations rather than fully formed objects.

I love the of dealing with the homoerotic versus the idea of dealing with certain tropes with regards to black masculinity in the world, propensity towards sports, antisocial behavior, hypersexuality - all of these sort of non-truths that I don't exist in but that I see as being fixed in the world's imagination.

So sometimes you have to play your hand and sort of push in a direction. And I think that masculinity is the driving point for a lot of the way that people, like, posture in the work.

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 think, something that you might be able to locate in the work that I'm creating today: the ability to look at a black America as something that not only can be mined in a very sort of cynical, cold way, but also embraced in a very personal, love-driven way; but also sort of critiqued.