I figure if you have one person that loves you, that's enough, growing up. You just need one person in your corner.

I have always been very intrigued by the outside of buildings. I can just walk down the street and be content with watching facades. I don't have to go inside.

The narrative oftentimes is that everything that comes out of the hood is 'real,' and so I thought, 'I'll base it on the absurd, the not real. I'll twist the idea of real on its head and see if I can get away with it. I'll make paintings that come not from a place but through an abstract gaze.'

The police pull up in back of my car and run my plates - they don't see you as you are; they see you through a racialized negative gaze. I think the best thing is not to internalize it too much, or it'll make you crazy because you know it's going to happen again.

I set writing aside when I went into theater, and then I set theater aside and subsequently had about a 25-year career in software development. Which, by the way, is a very creative field. I equate it more to kinetic sculpture than anything else, as an activity.

Loving a country is an act of the imagination.

A lady's imagination is very rapid; it jumps from admiration to love, from love to matrimony in a moment.

Every time I start a new work, I try to be different and to start with a new perspective, so I search for a new idea, something which gives me a new way to access my creativity.