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

Comics were a place where captivating images lit your imagination and showed you that you can create new kinds of people and worlds.

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.

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

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.

Black painters have done all kinds of work. It's the treatment of forms they engage in-that's what determines the value of the work, not whether you call them a black artist or not.

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.