I think that gave rise to the type of practice that I - that I do now. I think it was informed by a very Marxist almost "use-value"-driven investigation of painting as agent. These are high-priced luxury goods for wealthy consumers, which are designed to deliver certain communicative effects.

Just so [becoming a chef ] that I could support my art habit. You know? I mean, this is - this is something where you've been literally given an opportunity to put the world on pause for a second.

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

I think what we should concentrate on is what it feels like to be a working artist in the day to day. One doesn't imagine what comes down the line.

Unlike the background in many of the paintings that I was inspired by or paintings that I borrowed poses from - the great European paintings of the past - the background in my work does not play a passive role.

Like commercial stuff is sort of cheap and disposable and fun and can be sort of interesting in many ways. I love being in popular culture and existing in the evolution of popular culture. But it's so different from painting, and it's so different from that sort of slow, contemplative, gradual process that painting is.

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.