The illusion is that most of my work is simply about past events: a point in history and nothing else.

I took a political stance early on, but I don't think my work is overtly political. I respond to events.

I'm a sponge for historical images of black people and black history on film.

A lot of what I was wanting to do in my work and what I have been doing has been about the unexpected... that unexpected situation of wanting to be the heroine and yet wanting to kill the heroine at the same time.

I'm fascinated with the stories that we tell. Real histories become fantasies and fairy tales, morality tales and fables. There's something interesting and funny and perverse about the way fairytale sometimes passes for history, for truth.

There was a manifesto in the late '60s/early '70s, and it basically laid out what 'black art' was and that it should embrace black history and black culture. There were all these rules - I was shocked, when I found it in a book, that it even existed, that it would demarcate these artists.