I feel no shame about having paintings be as grandiose and ridiculous as possible.

Co-mingling really disturbs a lot of the purists, who want to see the historical and cultural divides instead of the meshing.

In art school, they teach you to struggle through the process: If you have your image down, you've painted it, and it's not looking the way you wanted it to, you can do wet on wet - you just keep moving the image around.

There tends to be a sort of mundane quality to what I select - things from around the house, around the studio. I'm not ashamed of the craft shop - the art supply store - and I don't need my work to be anti-art store, but I also believe in using things that are just sort of around - it makes sense to me.

I’m not sure a lot of other people would walk up to the same artwork and see the shadow on the person’s face from the hat and be like “Do you see that!” It’s about noticing things that interest you, and that definitely happens with the natural world as well.

I think that I'm going to be including a lot of anonymous female artists in what I look at and incorporate. Most textiles are created by women. Generally, most stuff that's not in the canon is created by women.

I feel no shame about having paintings be as grandiose and ridiculous as possible.