The ability to look at certain patterns with regards to urban fashion, with regards to swagger, with regards to cultural hegemony, with regards to the ways in which young people look at resistance culture as a pattern that should be mimicked and admired.

Like commercial stuff is sort of cheap and disposable and fun and can be sort of interesting in many ways. I love being in popular culture and existing in the evolution of popular culture. But it's so different from painting, and it's so different from that sort of slow, contemplative, gradual process that painting is.

I have been painting models with black and brown skin only for the past years. So, I did already have this experience, this is how I have come to the paintings I do now.

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.

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

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

I have a lot of problems with Western European easel painting.