It was something that came sort of matter-of-factually. Because there - it's like really - real honest engagement with the people around me and just like really honestly being a little bit confused, quite frankly, about Harlem.

The work that I wanted to create wasn't being done then. I was too much concerned about fellow students, professors, institutional style [in Yale].

Portraiture is something that we're all drawn to. I think primarily other forms - we prefer, by and large, to look at human beings than a bowl of fruit.

That's what I think my job in the world has been, is to sort of try to sit silently a bit and watch it all sort of move and see those small, quiet details, whether it be a small village outside of Colombo [country?] or the favelas of Brazil, where, again, resistance culture is something that you hear resonating in the streets of South Central Los Angeles as well.

Your best as an artist is to create something that resonates for you.

I've had moments where I've met people who were complete, like, idiots, who could not understand visual culture to save their lives.

After high school I went to the San Francisco Art Institute, and I began a formalized art education where we went through the history of art but we also went through the art of my contemporaries.