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.

Sometimes a collage element I hit upon can inspire the entire drawing.

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

In terms of my inspirations to become an artist, I think they come from early ideas and impressions about community, and the type of community I wanted to be in, and the type of thinking I wanted to do.

For me, at some point, the idea of struggling through the process was not as interesting as doing tests and executing the painting after I figured out all of its elements and how they were going to work together.

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

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.