One of the weirdest things that happened to artists and art criticism was this moment when everyone got cynical and stopped believing in the ability to engage the world in all of its myriad purposes, transformations, and incarnations.

I think there's something important in going against the grain, and perhaps finding value in things that aren't necessarily institutionally recognized.

This is something that, as artists, we constantly deal with-throwing away the past, slaying the father, and creating the new. This desire to throw away the old rules.

While it may seem a little mundane, the material realities of realizing the painting actually have a lot to do with how you should read the painting. For example, we assume that what the model is wearing is what we found him in in the streets. No; in fact, a lot of what happens is that in Photoshop certain aspects are being heightened or diminished. There is no actual material truth in these paintings.

I think the world that I grew up in was like being in this sort of magical artistic garden.

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

That's what I think my job in the world has been, is to sort of try to sit silently a bit and watch it all sort of move and see those small, quiet details, whether it be a small village outside of Colombo [country?] or the favelas of Brazil, where, again, resistance culture is something that you hear resonating in the streets of South Central Los Angeles as well.