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

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

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.

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.

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 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.

In high school I was good at math and everybody wanted me to do something with that - mathematics or engineering - which was a nightmare scenario for me. Meeting other artists and going to punk rock shows at that age, there was a feeling of freedom and community that I wanted to partake in.