The humor for me is how far above your head the signature is - it's dislocated from the sign of the artist in such a distinct way that it could almost be a self-portrait of a sort.

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

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.

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.

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