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

Almost as though the painting itself becomes the embodiment of a type of struggle for visibility, and this might be considered the main subject of the painting.

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.

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.

He's a great - he's a great professor. He retired recently, but.But Peter Halley as well.

You know, one of my - one of my best and, I think, most enlightening moments was when I was contacted by Michael Jackson. And he requested that I paint his portrait.

Women are expected to identify gender as a starting point. Ethnicities are expected to identify that as a location. Is it ever possible for the artist to imagine a state of absolute freedom? That was my call to arms.