I am in love with the physical manifestation of things—their color, smell, texture, size—the entire visceral world. I am in love, too, with being alive, with the intersection of my aliveness with the immense beauty I encounter day to day. More than anything, I’ve come to see the universe as a place constantly in motion so that there is no fixed truth, no immutable reality. My worldview is infinitely flexible, dedicated to probing what is before me precisely because it is so fleeting. We are all in a perpetual state of growth and decay, diminution and renewal.

When I deal with race in my work it is to push my way out of its box into the atmosphere. I find color differences between people endlessly fascinating, but my attraction is aesthetic and catholic, rather than keyed to race as a social force. Psychologically, I see blackness as the unknown. Racism has as much to do with fear of forces that cannot be controlled—change, creativity, rage, sorrow, joy—as with skin color.

In my work I explore violence against women—a core component of American culture. This contempt for the feminine is so deep that it masquerades as a cultural inevitability. I see misogyny as a rejection of part of the human psyche. Through my practice I teach myself to be brave enough to look at the entire universe within, and let curiosity lead me where it will. My faith in the creative process is absolute.  As I make things out of both shadow and light I allow a magical sense of wholeness to transport me. Evidence of this passionate inquiry sometimes transports others as well, and is an integral part of why I make art.