I think that once you're able to sort of get in line with who and how you relate to the world, you'll become closer to this index that I'm referring to. Because what you want is this card that relates to that book. What you want is this human that relates to this world, rather than having this art school society scattering that point of view somewhere in between. It becomes diffused. And that level of clarity, I think, was gained at the Studio Museum in Harlem.

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

That's the trouble with, I think, my - the contemporary read of my work. So many people just simply say, "These are pretty pictures of black boys." They're not really thinking about, like, what the whole thing is.

The artists ultimately respond to the public.

There was no image of the other biological half of myself. And as an artists, as a - as an - as a portraitist, the look of who you are was radically important to me.

At the same time I really enjoy painting flesh.

While I can hire out the portrait, I don't, because it's just - that's where I shine. You know, that's my blood sport.