I love the flexibility of saying, "Today we're making 50-foot paintings, and we're going to have to join hands and figure out how that's going to work." But in the end, it's a possibility.

I have a really strong suspicion of the romantic nature of portraiture, the idea that you're telling some essential truth about the interior lives of your subject.

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.

What I love in art is that it takes known combinations and reorders them in a way that sheds light on something that they have never seen before or allows to consider the world in a slightly different way.

In my work, I want to create an understanding, not about what a painting looks like but about what a painting says.

There are just so many different types of people that come into my studio, and secondarily, there's the idea of ideation, like, "Who are you and what do you see in yourself in this other person?" So many different people that you would see so many different things.

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.