Most people say, "Hell, no. I don't know who you are. This scares me. Like, I'm not interested in this."Another way of looking at these paintings is, these are the guys who said yes.

I was surrounded by art by virtue of not only the educational opportunities that my mother's foresight availed me to.

People who - and I think that's been a huge education for me. I think it's a - it's a privilege to be able to meet such a broad cross-section of New York and increasingly the world, and to get a feel of how people respond to visual culture.

I had no idea about where I was going. I had no sense of art as anything other than a problem to be fixed, you know, an itch to be scratched. I was in that studio trying my best to feel content with myself. I had, like, a stipend. I had a place to sleep. I had a studio to work in. I had nothing else to think about, you know. And that's - that was a huge luxury in New York City.

In America, there's this type of expectation of just-add-water celebrity, this type of, "Of course you found me; we're all going to be famous for 15 minutes," sort of Paris-Hilton-ization of society.

You have to bring books to explain your work.

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.