There is no purity with regards to the marketplace and art, I believe.

When I went to the Studio Museum in Harlem, there was a type of freedom that existed where I didn't have to think about professors, where I didn't have to think about much of anything other than my own practice.

I create something that means something to me, to the world, and try to do my best. I can't fix everything.

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.

When the fat lady comes out to sing, we don't know how she feels that day. We don't know if she's suffering from a cold or is mourning a death or falling in love. We don't know. But so all of that chance is the performance.

I had an amazing instructor, Joseph Gotto , who, as a painter, spoke to me as it - he didn't condescend.

If I were making paintings of a bowl of fruit it would still be viewed through some sort of political lens, because the viewer wants to create a type of narrative around the political theme when they look at work depicting black and brown models.