A lot of my work reflects the incredible influence that America has had on contemporary African culture. Some of it's insidious, some of it's innocuous, some of it's invisible. It's there.

Kenya is rapidly developing its industry and manufacturing, and its cultural identity as a new country. We had a humongous history pre-British, and when we were colonized and violently reshuffled, we had to decide who we were again. We couldn't rest on the stories and the cultures of our great-grandparents.

Everything is deeply affected by the dominant culture. Consumerism is huge in the US. This is by far the wealthiest [nation], but also the biggest consumer in the world. Which means that a lot of things get used, a lot of things get wasted, and a lot of things get churned out in ways that are wasteful.

And luckily, for whatever reason, I've found people who are interested in living with and owning and existing around the DNA of my mind, which is my visual work. I've found collectors who are willing to put money down to live with my work. So I can't criticize the whole mechanism. But I can criticize it as an artist, in spite of the fact that I benefit from it. And there are problems with it.

Females carry the marks, language and nuances of their culture more than the male. Anything that is desired or despised is always placed on the female body.

A lot of my work reflects the incredible influence that America has had on contemporary African culture. Some of it's insidious, some of it's innocuous, some of it's invisible. It's there.

I'm not a policy maker. I'm not even a very great activist. My main thing is to make things that speak for the culture that I live in.