Music is the universal language, it evokes an emotion in all of us. That, we can all look at each other and we may not speak the same language, but that song or that melody can make us feel the same thing. And we can look at each other and agree and be like, "that did something for us". It makes us feel unified and connected.

In some ways you still have to buy your freedom, but that's because you live in a social structure that's organized around capital, and capital does equate with a certain kind of freedom, especially if you can start to generate capital on your own.

Part of what I am dealing with, with this blackness, is asking the question, "Where are those black people, who are as dark as the description of a young black boy that Solomon Northup gives in 12 Years A Slave?" He describes the young black 14-year-old boy as "blacker than any crow." You have to question if he is using that metaphorically or as a descriptive?

The first freedom is to be in possession of yourself - to own yourself, to not be subject to the will of somebody else. In a capitalist society, that means having a certain economic wherewithal so that you can do what you wish to do without having to ask permission.

The appearance is the allusion of abstraction when in fact I am in control of every aspect of that symmetry.

I don't see those paintings as abstractions, especially because they are emblems of the inkblot. They aren't smashed together; they are constructed shape-by-shape, layer-by-layer, like any other picture.

If you look at the image [ Portrait of the Artist as a Shadow of His Former Self ], it treads on a kind of popular stereotypical image of the black figure, in both its flatness and slightly comic edge. To take that image as a starting point and to render it in a proto-classical medium, like egg tempera, and then use a repertoire of classical compositional devices to make the picture was a way of setting up an engagement with art history.