I have no interest in making a work that doesn't elicit a feeling.
To be a truly conscientious artist, you have to look at what's not working and challenge it. You riff on things.
Challenging and highlighting abusive power dynamics in our culture is my goal; replicating them is not.
I never learned how to be adequately black. I never learned how to be black at all.
Once you open up the Pandora's box of race and gender... you're never done.
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.
The illusion is that most of my work is simply about past events: a point in history and nothing else.
There is something very strange and unsettling for me about making a work that doesn't fit with what's the norm or what's acceptable. There's something both liberating about it and challenging. I can imagine it doing more harm than good.
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.
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 knew I wanted to be an artist, but I didn't really know what it was I wanted to say.
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!
I grew up partially around Stone Mountain, Georgia, and in that part of the country, there was always this aura of mythology and palpable sense of otherness about being a Southerner.
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.
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.
It feels like a game, this work I do. It is totally heartfelt, and I love the sticky terrain, the straight-up cartoons, how the irrepressible and icky rise to the surface. But I am not just trying to call forth bugaboos and demons for the sake of it, for fun.
Sugar crystallizes something in our American soul. It is emblematic of all industrial processes. And of the idea of becoming white. White being equated with pure and 'true': it takes a lot of energy to turn brown things into white things. A lot of pressure.
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.
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.
Humor's always been the problem of my work, hasn't it? When working, I feel satisfied when I surprise myself. And when I surprise myself, I wind up laughing.
