My work is really abject and self-effacing sometimes. I mean, it's big and overwrought, but it's just paper dolls, and it's kind of silly.

I trust my hand. If I go into a space with a roll of paper, I can make a work, some kind of work, and feel pretty satisfied.

The thing that's tricky is sometimes the best voices - just because someone hits the big notes and sounds amazing - it doesn't necessarily mean they make the greatest artists.

I've seen people glaze over when they're confronted with racism, and there's nothing more, you know, damning and demeaning to having any kind of ideology than people just walking the walk and saying what they're supposed to say and nodding, and nobody feels anything.

I was making big paintings with mythological themes. When I started painting black figures, the white professors were relieved, and the black students were like, 'She's on our side.' These are the kinds of issues that a white male artist just doesn't have to deal with.

I have no interest in making a work that doesn't elicit a feeling.