It's forcing the issue of perception by rendering an image that is just at the edge of perception, which in someway forces you to look more closely and for you to adjust your vision so you can see in the dark.

Like a lot of young people who wanted to be artists, comics were a gateway for me.

For black people in the western hemisphere, if you can't generate a mythology that creates models of heroism and power out of the mythology that you had, then that means that somehow the mythology you had was not only feeble and weak, but that you are ultimately a powerless people. That's a notion that, I think, that can't be accepted.

Abstraction and representation are supposed to be going down two very different paths, one sociological and the other aesthetic.

I think we need to remember...that a lot of energy was put into changing things to get us to the point where we are now. But being where we are now doesn't mean that we don't have to put in the same kind of energy to get us to a place where we ought to be.

When State Way Gardens and The Robert Taylor Homes were being torn down, it seemed like a perfect opportunity to use that as a backdrop for the development of a super hero narrative.

In [Ralph] Ellison's case, it's more psychological than it is phenomenal, and it's conditioned by anger, animosity, and lack of desire to engage with the black body. There was always simultaneity that had nothing to do with visuality. You can be there and not be there at the same time and be fully visible all the time. That's what really struck me about Ellison .