Occupation: Painter Birth: 1977
I'm fully capable of multitasking certain conceptual concerns within the work..
The backgrounds by design are a very key part of the conversation, because I want a kind of fight or pressure to exist between the figure and the bac….
I try to create a place of disorientation..
I think there's something important in going against the grain, and perhaps finding value in things that aren't necessarily institutionally recognize….
He's a great - he's a great professor. He retired recently, but.But Peter Halley as well..
What I love in art is that it takes known combinations and reorders them in a way that sheds light on something that they have never seen before or a….
When you're at your best, you're analyzing yourself and becoming increasingly isolated from a broader narrative..
My studio practice is a - I suppose a bit more like [Thomas] Gainsborough or [Peter Paul] Rubens in the sense that any artist who wants to create a g….
In the Studio Museum in Harlem, when I was dealing with that community and dealing with my peers in the streets, it allowed for me to get outside of ….
The work that I wanted to create wasn't being done then. I was too much concerned about fellow students, professors, institutional style [in Yale]..
Mel [ Bochner] held large-form meetings with students. But the stronger points came through when we had the one-on-one critiques. And that's the syst….
I suppose in the end what shift occurred - is that at Yale I began to become more materially and conceptually aware of the mechanisms that gave rise ….
There's something really cool about being able to fly to South Africa and watch one of the most talented African footballers wearing a shoe on the fi….
I think that artists provide questions, not answers. We provide provocations rather than fully formed objects..
I believe that artists should be part of the culture. I think that my work clearly bears that out..
I create something that means something to me, to the world, and try to do my best. I can't fix everything..
In my work, I want to create an understanding, not about what a painting looks like but about what a painting says..
After high school I went to the San Francisco Art Institute, and I began a formalized art education where we went through the history of art but we a….
I think one of the things that I took from Mel [Bochner] specifically was his ability to look at oneself and one's relationship to the history of art….
I happen to be a twin. I grew up half of my life with someone who looks and sounds like me. And I believe it's possible to hold twin desires in your ….
There were certain expectations that were assumed of me as a young black American 20th-century - then 20th-century artist..