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.

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 feel like there’s a space of personal freedom for me where my art-making happens. When I go to that space, I’m completely in this world of possibility.

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.

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’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 a lot of male artists should and probably are thinking in the same ways. The culture has moved in a more democratic, pluralistic direction. You now find a lot of people who are looking outside of the mainstream of the history of art for their mentors. Maybe not heroes, but mentors.