I feel like what's most important for painting - which has been hierarchically on the top for a really long time in terms of what is considered fine art, by comparison with something like a comic book or what's considered low art - is that painting should open up laterally to include other cultures and things that don't immediately resonate as a painting but are obviously of equal contribution to the genre.

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.

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 what's most important for painting - which has been hierarchically on the top for a really long time in terms of what is considered fine art, by comparison with something like a comic book or what's considered low art - is that painting should open up laterally to include other cultures and things that don't immediately resonate as a painting but are obviously of equal contribution to the genre.

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 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.