Let's talk about the artist's desire to go beyond the pictorial or the representational and the desire to create the abstract - the idea that painting can go beyond what is seen. What we found is that, increasingly, painting became about paint, its own material truth. When I'm talking about the way that we look at others and the way that we see ourselves increasingly, looking at others becomes its own material truth.

When you're at your best, you're analyzing yourself and becoming increasingly isolated from a broader narrative.

It was probably one of the things that gave me a sense of possibility and allowed for me to see beyond the small community that I existed within. You know, I was making friends with young Soviet kids. this is during perestroika. You know, there's bread lines and vodka lines. The entire social structure of what was then the Soviet Union was radically different from what we know today.

I think what's really interesting and useful about this question is that ultimately all art is a type of self-portraiture. And so in the act of identifying yourself, you're using others to get to that point. And so you're parsing out different aspects of different people in the world. You're choosing not only from America but increasingly globally different aspects of what's out there.

And as a young black man, a lot of my professors would really think that it was useful to see the work of politically oriented, positivistic, leftist creative works. And I found it incredibly useful. And I found it something that I've learned from and gained from.

You'll find that street casting in America is a lot different than street casting in different nations.

I was 12 in 1989 during perestroika, when my mother found a program that sent me to Russia to study art in the forests outside of Leningrad.