Once you open up the Pandora's box of race and gender... you're never done.
As a child, I was subjected to a lot of spaghetti Westerns and hated them. I wanted the Indians to win - or just not be so sad!
Challenging and highlighting abusive power dynamics in our culture is my goal; replicating them is not.
I don't know how much I believe in redemptive stories, even though people want them and strive for them.
I have no interest in making a work that doesn't elicit a feeling.
I knew I wanted to be an artist, but I didn't really know what it was I wanted to say.
I never learned how to be adequately black. I never learned how to be black at all.
I really love to make sweeping historical gestures that are like little illustrations of novels.
I took a political stance early on, but I don't think my work is overtly political. I respond to events.
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.
I'm a sponge for historical images of black people and black history on film.
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.
The illusion is that most of my work is simply about past events: a point in history and nothing else.
The promise of any artwork is that it can hold us - viewer and maker - in a conflicted or contestable space, without real-world injury or loss.
To be a truly conscientious artist, you have to look at what's not working and challenge it. You riff on things.
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