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

One of the weirdest things that happened to artists and art criticism was this moment when everyone got cynical and stopped believing in the ability to engage the world in all of its myriad purposes, transformations, and incarnations.

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

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.

Status and class and social anxiety and perhaps social code are all released when you look at paintings of powerful individuals from the past.

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.

I feel sometimes constrained by the expectation that the work should be solely political. I try to create a type of work that is at the service of my own set of criteria, which have to do with beauty and a type of utopia that in some ways speaks to the culture I'm located in.